THE JEWELLERY & WATCH BOOK 2019
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EDITORIAL
PUBLISHING
Editor in Chief MOJEH IZADPANAH
Brand Manager KELLY BALDWIN
Managing Editor ANNIE DARLING
Sales Director NADINE CHEHABEDDINE
Contributing Editors PETER IANTORNO NICOLA MONTEATH NATALIE TREVIS
Office Manager JULIA NICOLAE Senior Publishing Executive DESIREE LABANDA-GAVERIA
MOJEH Women NATASCHA HAWKE DINA KABBANI
Paris Representative GHISLAIN DE CASTELBAJAC
MOJEH Men SAIF HADDAD
Advertising Inquiries Tel: +971 4 553 90 49 Email: advertising@mojeh.com
Guest Stylists STUART ROBERTSON MASHA MOMBELLI ANNA KLEIN
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ART
LOUIS FOURTEEN FOR MOJEH
Production and Creative Direction MOJEH MAGAZINE
Tel: +971 4 425 86 00 Email: louis@louisfourteen.com
Art Director AMIRREZA AMIRASLANI
Published under HS Media Group FZ LLC Registered at Dubai Design District Building No. 8, Offices 212 P.O.Box 502333, Dubai, UAE.
Graphic Designer BALAJI MAHENDRAN Contributing Photographers BORNA AHADI TINA PATNI LALO & EVA CHANTELLE DOSSER
Cover featuring necklace in white gold with diamonds and paraiba tourmalines, DAVID MORRIS Photographed by Tina Patni Styled by Stuart Robertson
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. 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
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FASHION
BEAUTY
JEWELLERY & WATCHES
SEASONAL STYLE: Need help editing your wardrobe this month? Look to MOJEH’s fashion shoots for the definitive guide
FINERIES FIRST LOOK: See which fine and high jewellery pieces should be considered for your vault this month
LIFESTYLE
VIDEOS
RUNWAY READY: From Prada to Miu Miu and Dior to Chanel, join us backstage at the latest fashion weeks for a preview of the collections
THE ACCESSORY EDIT: From the latest it-bags to the newest shoe designers, see what’s on the MOJEH radar
LUXURY ESCAPE: Whether in need of a staycation or a far-flung destination, this is travel at its very best
MOJEH.COM THE LATEST IN STYLE AND LUXURY
Enchaînements Libres Collier Grand Jeté, HERMÈS HIGH JEWELLERY
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HIGH SECURITY Combining innovation with exquisite design, Buben & Zörweg creates bespoke storage objects for the most high-end timepieces
34
ARTISTIC FORM Wallace Chan combines old-world
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KEEP IT IN THE FAMILY
MOJEH examines the unique advantages
wisdom with a penchant for technical
and challenges associated with operating
innovation, and has spent the last seven
a successful family-run jewellers
years developing a type of porcelain that
62
TEST OF TIME With the Silk collection, the House of
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INTO OBLIVION Bold stones and daring hues make for
Boghossian celebrates ancient Chinese
memorable moments in our watches
craftsmanship that dominated the Silk
and jewellery photoshoot
Road’s trading route centuries ago
Photography: Karim Sadli/Hermès
is five times harder than steel
136
BEYOND COMPARE
Akin to works of art, high jewellery is conceptualised and handcrafted by the most skilled artisans. Here’s
MOJEH’s edit of this year’s best of the best...
152
A FIRM FOUNDATION
MOJEH finds out why Audemars Piguet contributes to the cause of worldwide forest conservation through its Swiss-based foundation
168
WHAT HE’S WEARING
MOJEH’s horology experts showcase the best men’s watches that will put a masculine spin on any ensemble, featuring the most popular brands in existence
184
GLOBAL DOMINATION
The adoption of online selling by high-value watch and jewellery brands has been slow, but change is coming as e-commerce takes off
Dior Grand Bal, DIOR
204
PRESSURE MAKES DIAMONDS
Jewellery designer Roberto Coin takes MOJEH on
a tour of his opulent home in Italy’s Venice. Expect lashings of glass and plenty of purple
Elegance is an attitude Kate Winslet
The Longines Master Collection
Photographed by Lalo + Eva
Photographed by Tina Patni
TIME IS NOW When investigating the artisanship that goes into creating watches and jewellery, it’s difficult not to illuminate the links between the past and present. After all, our ability to envision the future is strongly influenced by our memory of the past, and for the world’s most extraordinary artisans, there’s little to no difference. In this diamonddrenched issue, we examine the heritage of Cartier, page 64, an esteemed maison with deep-rooted history brimming with iconic moments often featuring its Panthère de Cartier among others. The longevity of high jewellery is called into question in Seismic Shifts, page 148, as age-old craftsmanship techniques make way for innovative breakthroughs that could threaten the magical wonder of haute joaillerie. We also look to the future, particularly for those in the Middle East. On page 50 we speak with the founder of Nuun Jewels, HRH Nourah Al Faisal, about her influences and thoughts on the region’s jewellery scene, and Montblanc’s collaborator Charlotte Casiraghi, daughter of Monaco’s Princess Caroline, tells all about her highly-awaited Les Aimants collection in New Frontiers, page 58. With the men’s jewellery sector booming, in Ring the Changes we investigate the growing popularity for male accessories, and round-up the best of the best in men’s horlogerie in What He’s Wearing on page 168. It’s often thought that the real value of a jewellery or watch is reflected not just in the uniqueness of its materials, but in the time that goes into putting the creation together. With that in mind, sit back and unwind – enjoy this year’s MOJEH Jewellery and Watches book, which
Follow me on Twitter and Instagram @Mojeh_I and write to me at editor@mojeh.com
MOJEH IZADPANAH Editor in Chief
EDITOR’S LETTER
Photographed by Hana Levan
has been carefully crafted for your pleasure.
EDITOR’S PICKS MOJEH’s edit of this year’s spectacular line-up of masterfully crafted jewels and timepieces
Photography: Tina Patni. Styling: Stuart Robertson
Photographed by Tina Patni | Styled by Stuart Robertson
Melody of Colours ring in white gold with amethysts and turquoise, DE GRISOGONO
Horological Machine No. 9 ‘Flow’, MB&F
Attelage d’Or Ribbon Double Tour bracelet in yellow gold with black spinels, HERMÈS
Plume de Chanel bracelet with diamonds, CHANEL
Chiffre Rouge Automatic, DIOR HOMME
Wabar Tourbillon Limited Edition, LOUIS MOINET
Flore Di Bvlgari necklace with diamonds, BVLGARI
Garden Party necklace in white gold with diamonds and emerald, PIAGET
Tourbillon 24 Secondes Edition Historique, GREUBEL FORSEY
46 Time Mover, BUBEN & ZÖRWEG
HIGH SECURITY O
ur customers are sportsmen, stars, and kings and queens from all over the world,” says Eberhard Hagmann when we speak with him about his high-end clientele at Buben & Zörweg. Eberhard became creative head of design at the German company in 2003 after a successful career with well-known watchmaker Junghans GmbH, among others. “Buben & Zörweg creates unique masterpieces for unique moments,” he furthers about the creations his company makes. “We delight lovers of fine timepieces with our unique masterpieces of craftsmanship. Each is defined by its own exclusive character.” Combining innovation with exquisite design, Buben & Zörweg is a maker of luxury watch winders and
safes, and the brand offers a wide range of opulent storage options when it comes to timepieces. Even in the relatively rarefied world of home security, the brand is, without doubt, a cut above the rest, with safes and secure storage units that are VdScertified (the highest mark of quality available) as well as lined in velour and plush nappa leather, and available in a selection of different colours. “Luxury is in the details,” Eberhard explains when discussing his craft. “At Buben & Zörweg everything is possible. From special materials to individual security solutions.” The company reportedly has a target customer of roughly Dhs14 million, with each safe or display system taking, on average, up to 16 weeks to produce. It goes without saying, of course,
SAFEKEEPING
Photography: Suppled. Words: Annie Darling
Combining innovation with exquisite design, Buben & Zörweg creates bespoke storage objects for the most high-end timepieces
WE DELIGHT LOVERS OF FINE TIMEPIECES WITH OUR UNIQUE MASTERPIECES OF CRAFTSMANSHIP. EBERHARD HAGMANN
Solitaire Vision, BUBEN & ZÖRWEG
Grande Illusion Deluxe, BUBEN & ZÖRWEG
that the customisation options are endless, and artisans hand-assemble each client’s strongboxes at a factory an hour’s drive from Stuttgart in OlbronnDürrn, Germany. The Solitaire Vision is one of the company’s most highly-coveted models, admits Eberhard. In part, because of its ability to seamlessly blend into any home space or office background. It’s not uncommon for clients to request a representative from the brand to attend the item’s intended location, so as to design it’s interior and exterior with the utmost care and discretion. “It’s a fascinating timepiece enclosed in a shimmering stainless steel bezel, which is a striking feature,” Eberhard says of the Soiltaire Vision. “Its inner values are protected by bullet-proof spy glass that allows insight as soon as the sophisticated LED [light-emitting diode] system is activated.” The Solitaire Vision’s doors are made of bulletproof, two-way mirrored, glass more than a half-inch thick. The owner need only push a button on a remote control, and the mirrored effect dissolves to reveal the treasured watch collection within. “A Buben & Zörweg masterpiece is the centrepiece of every room and should be the highlight of every room,” insists Eberhard, and why shouldn’t they? Especially when such care and attention is devoted to each piece. “Noble design in harmony with compelling innovation, selected materials and perfect workmanship are a convincing combination that both fulfil and exceed our customers’ highest expectations,” he says with evident pride. Eberhard is also proud of his 46 Time Mover modules, which hold automatic watches, some of them in an integrated safe. “It’s the combination of the materials, design, perfect workmanship and latest technology.” This, he explains, is what makes the 46 Time Mover modules so exceptional. And as for the company’s future? “There’s a lot in motion,” he admits. “We will expand our safe line as well as our innovative, patented and new security solutions.” Buben-zorweg.com
Brazilian inventor and aviation pioneer, Alberto Santos-Dumont
SYMBOL OF
MODERNITY F
or more than a century, aviators and watchmakers have made natural collaborators and, created in 1911, the Santos de Cartier wristwatch is one of the earliest examples of these pioneering partnerships. Luxury watchmaker Louis Cartier granted the wish of famous Brazilian aviator and friend Alberto SantosDumont, who complained about being unable to tell the time while flying. A pocket watch, he explained, was too fiddly to operate once airborne, and as a result of his hardship, one of the first ever wristwatches was unveiled; a timepiece which has since become one of the most aesthetically-recognisable worldwide, thanks to its rounded angles and exposed screws, which have inspired countless reinterpretations. In updating this timepiece, Cartier’s craftsmen and women have focused primarily on comfort, while being sure to retain the hallmarks of the original Santos de Cartier. Larger models have been unveiled,
with manufacture mechanical movements complete with manual winding calibre 9619 MC. The design of the bezel has also been updated to favour the proportions between the lines of the case and the strap, which has resulted in a more dynamic and handsome structure. A structure that is, of course, paired with either a luxurious steel, gold, calfskin or alligator leather strap, all equipped with the interchangeable Cartier QuickSwitch system – an invisible mechanism that blends into the structure of the case while allowing for a seamless fit. Cartier has chosen 2018 to celebrate Alberto’s daredevil genius by offering two new steel-cased models to its clientele: one automatic (available in two sizes); and, the other, a skeletonised manuallywound version available in a larger case. The idea that classic watchmaking takes inspiration from ingenious inventions, and visa versa, isn’t new. But ever since the creation of the Santos de Cartier during what is
H E R I TA G E & H I S T O R Y
Photography: Vincent Wulveryck/Cartier
Santos de Cartier was the product of experimentation by two visionaries and friends, Louis Cartier and Alberto Santos-Dumont
Santos de Cartier, CARTIER
often called the ‘Age of Engineering’, watchmakers have established new sets of foundations for contemporary timekeeping. In short: it signalled the dawn of a modern era in haute horlogerie. Men who change the world – men like Alberto Santos Dumont – are among those who champion progress and want to be at the helm of innovation. A few years prior to the launch of his namesake timepiece, in 1906 the aviator became the first man to achieve powered flight without the help of a launch device. Just two years later, he was the first person to produce a commercially-available aircraft, which he called the Demoiselle. As such, Cartier strives to personify this insatiable appetite for adventure and excellence in the latest editions of Santos de Cartier. After all, it was first sold as a luxurious ‘tool watch’, which is what made it so appealing to the masses, especially when it was first produced in bicolour and steel models in the Seventies. The design is both groundbreaking and historic, an unusual combination for a piece so successful, but it’s one that’ll undoubtedly stand the test of time as a result. And over a century later, there’s no question that the Santos de Cartier continues to be the perfect accompaniment on the wrist of bold and fearless gentlemen throughout the world.
INSIDER INSIGHTS
MOJEH meets three of the jewellery and watch industry’s most influential leaders who are setting trends for the year ahead
FLAVIO PELLEGRINI President of Ebel and Concord watches Utilising his strong brand-building skills and business knowledge, Flavio drives key strategic priorities for Ebel and Concord “This year, we are launching the new Impresario Gent Moonphase, which comes in three different variations,” reveals Flavio when asked about Concord’s latest launches. “Impresario is one of the important pillars of the Concord brand, along with Saratoga, Mariner and Delirium,” he furthers. “This collection was launched in 1998, 20 years ago, and has always been our classically bold line.” With an exciting 12 months ahead for the maison, this fascinating new model is one to look out for.
GEOFFROY LEFEBVRE Chief executive officer of Baume et Mercier Having worked for Vacheron Constantin and Jaeger-LeCoultre, Geoffroy’s been leading Baume et Mercier since June 2018 Baume et Mercier’s Clifton Baumatic is the first watch by the brand to be equipped with an in-house mechanical movement featuring additional innovative concepts. “Baume & Mercier offers a unique blend of Swiss-made quality and distinctive style,” says Geoffroy, who explains that the brand’s history is what makes it so special. “When I joined, I took a day to sift through our heritage collection. It was a real ‘journey through time’ for me,” he says, “and I found the most amazing watches that I barely knew existed.”
LUCA BUCCELLATI Partner of the Buccellati Group
Buccellati’s bespoke services and personalised masterpieces are what elevates the Italian maison above the rest. “One-of-a kind-pieces,” says Luca, “those pieces that are really very super; if you buy one, you’re going to be the only wearer of that design.” Like other members of the Buccellati family, Luca hopes to preserve the company’s Italian ancestry, while also pushing the boundaries of innovation. “We specialise in engraving and use traditional techniques,” he explains, to form everything from gold-studded cuffs to honeycomb rings.
MOJEH MEN
Photography: Supplied
Luca Buccellati’s family-run business dates back to 1919 when his father opened its first atelier in Milan
MAN OF HONOUR Powerful, distinctive and innovative – iconic timepieces
Photography: Tina Patni. Styling: Stuart Robertson. Words: Annie Darling
for the ultimate gentleman
From left: 19Thirty Fleurier and Dimier Récital 11 Miss Alexandra, BOVET 1822
PERFECT MARRIAGE Time waits for no man. An iconic timepiece, however, will stop him in his tracks, and Pascal Raffy, owner of Bovet 1822 and Dimier 1738, knows his 19Thirty Fleurier will do just that. The craftsmanship on show, and the tradition it represents, makes this creation an easy-to-wear statement timepiece that’ll have those in the know mesmerised. And for his other half, the phase of the moon of the Récital 9 Tourbillon present in the maison’s Récital 11 Miss Alexandra makes for a showstopper.
From left: Malte and Traditionnelle Tourbillon, VACHERON CONSTANTIN
GOING FOR GOLD A classic watch tells more than time – it tells the world who you are, which is why Vacheron Constantin has produced numerous 18-karat gold and pink gold models such as the Malte and Traditionnelle Tourbillon. Whether you’re about to invest in your first serious timepiece or looking to add to an already impressive collection, the right accessory on your wrist acts as a milestone in life: a marker of time well spent. Gold, because of its timeless appeal and ability to complement any ensemble, is always a winner.
Photography: Tina Patni. Styling: Stuart Robertson. Words: Annie Darling
From left: Classima and Clifton Baumatic, BAUME ET MERCIER
FOOLPROOF Balance a timeless black leather strap with a bold slate-grey dial, like the one sported by Baume et Mercier’s Classima, and you have a companion for life – suitable for any time, and any occasion. Featuring a sleek stainless steel structure and powered by a Swiss-made quartz movement, it’s a wearable winner, as is the Clifton Baumatic – for gentlemen who prefer the bold appeal of a brown alligator strap, complete with an automatic self-winding movement.
A RT I S T I C F
O
R
M
Wallace Chan combines old-world wisdom with a penchant for technical innovation, and has spent the last seven years developing a type of porcelain that is five times harder than steel
Words by Annie Darling
W
allace Chan is the elusive Hong Kong artisan behind some of the world’s most elaborate jewellery. “Artistic creations are about conserving human heritage,” insists Wallace. “I work with one thing in mind – creations today will become heritage in the future. For these reasons, I embellish my pieces with surprises. There are secrets that await to be discovered in the decades and centuries to come.” Most people know the designer through reputation only; his kaleidoscopic, visionary high jewels and whimsical sculptures are nothing short of breathtaking, and he is lesser-known for his hands-on approach – not only does he envision the magnificent wearable objets d’art, he also does much of the assembly himself. “I approach jewellery creation as an art, but that is not to say maths and science doesn’t play a role,” he smiles. “Precise calculations are key to a successful creation process.” Among his most elaborate (known) pieces is an 11,551-diamond necklace for the privately-owned conglomerate Chow Tai Fook, said in 2015 to be the world’s most expensive necklace, at Dhs735 million. Despite his success and skill, Wallace is both charming and humble, and has a reputation for selling only to people he likes. “I feel that I am merely a translator for the universe,” he explains. “Gemstones are my language. As a creator, I am open to all art forms, with jewellery being one of them.” Through his personal experimentation he’s developed a number of innovations, and the most recent is a new type of porcelain that’s five times stronger than steel. Previous breakthroughs include a technique for refining and brightening jade, as well as the so-called ‘Wallace Cut’, which involves engraving transparent crystal using a combination of faceting and intaglio techniques.
THE ARTISAN
Photography: Supplied
Jewellery designer Wallace Chan
Sea of Joy brooch, WALLACE CHAN
A Moon Voyage brooch, WALLACE CHAN
IT MAY SOUND CLICHÉ, BUT I DO BELIEVE THAT EVERY DAY IS A GIFT, BECAUSE OF MY UPBRINGING. WALLACE CHAN
This results in an optical illusion that reveals four images of the engraving when viewed from the front. “It may sound cliché, but I do believe that every day is a gift. Because of my upbringing, I could never take for granted that I get to spend my days dreaming, creating, doing something I love. My work never feels like work.” Wallace’s interest in porcelain began during his childhood in Hong Kong. His family was extremely poor, and he and three siblings shared one plastic spoon for meals, while the adults had porcelain ones. “Growing up, my siblings and I had to share a single plastic spoon while we ate,” reveals Wallace. “The adults in my family used porcelain spoons and I yearned just to touch those spoons, wondering what they would feel like. To me, porcelain represented comfort, warmth, freedom even – everything that was so far out of my reach.” He began making jewellery as a teenager, initially training as a carver before opening his own workshop in 1974. “Food and warmth were the greatest
inspirations,” says Wallace about his reasons behind pursuing a career in jewellery. “When I was a child, I had to work to support my family.” It was a long and difficult road. “At first, I worked every day after school. At 13, I had to quit school to begin working full-time. I took up many odd jobs,” he reveals. “At 16, my uncle invited me to work at a gemstone carving workshop.” His connection to the craft was almost instantaneous. “The moment I touched and saw a piece of malachite for the very first time, I was fascinated,” he remembers. “I was mystified. I was absorbed completely by the colours, the swirls and the texture.” Despite his love for the craft, finances came first. “Gemstone workshops in those days worked only for money,” he sighs. “There was no room for creativity.” So he took matters into his own hands. “After nine months I decided to leave the workshop and begin carving on my own.” Today, he’s an entrepreneur with 10 employees working in his central Hong Kong office, and an additional 36 designers and technicians working at his workshops
THE NEXT CREATION – THE PIECE I HAVE NOT CREATED YET – IS ALWAYS MY FAVOURITE. WALLACE CHAN
Starlight Ballet ring, WALLACE CHAN
in Kowloon and Macau. “I spent seven years working to develop this porcelain,” he reveals, which he’s aptly named, Wallace Chan Porcelain. “My research and experiments focused on a few key areas including its hardness, toughness, colour and lustre.” Many of the ingredients used to create the product were handchosen by Wallace himself. Pieces are fired in one of his two custom-built German kilns to about 1,650 degrees Celsius, or about 200 degrees Celsius more than in the traditional process. Four jewellery pieces have already been crafted using the material – three rings and a glamorous pair of earrings featuring nearly 60 carats of South Sea pearls – that have been mixed with Wallace’s self-proclaimed favourite material to work with; titanium, which has been a signature feature of his work for the past decade. Despite his continued success with Wallace Chan Porcelain, the artisan admits that there were challenges in perfecting his latest invention. “When you are creating something for the first time, challenges are inevitable – that is why you must hold on while your vision is clear,” he explains. “There were times throughout those seven years when I would start to grow frustrated, but my dreams always told me it was possible.” Wallace’s inherent connection with his work is partly why he’s able to persevere and overcome career obstacles. “Every creation tells a story, but not every story has a message. My porcelain communicates that anything is possible. I took a relatively fragile material, first created 2,000 years ago, and reimagined it, reinforced it, reshaped it to be five times stronger than steel. Opportunities are endless and there are no limits of time and space. We hold the potential to build upon our past to reshape our future.” And he has high hopes for the material. “I cannot predict the future, but my hope is for this porcelain to inspire,” he explains. “I would like it to challenge the industry, and to encourage others to innovate and create with new materials, methods and technology.” Not one to slow down, Wallace is already looking into what else he can experiment with. “The next creation – the piece I have not created yet – is always my favourite,” he laughs. “The future represents learning and discovery, and few things excite me more.”
Multiverse earrings, WALLACE CHAN
Dream Planet ring, WALLACE CHAN
Rooster earrings, BEGÜM KHAN
THE
DESIGNER MOJEH speaks to Gemfields about its partner Muse Showroom’s e-commerce platform, as well as showcased jeweller, Begüm Khan World-leading specialists in sustainable mining, Gemfields – in collaboration with Muse Showroom – has launched an exciting new e-commerce platform, which offers an exclusive range of jewellery by up-and-coming designers who have worked with the company. “Our partnership with Muse first began in 2014,” says Emily Dungey, marketing and communications director at Gemfields. “Collaborating with fashion, jewellery and art partners allows us to bring to life our precious and rare gemstones, and Muse provides an eclectic array of emerging and established talent under one roof.” Over 200 different jewellery styles are available, with prices ranging from Dhs1,800 to Dhs312,000 – what are you waiting for? Musexmuse.com
Do you have a favourite motif? It would have to be the scarab – the luckiest animal in all of Egyptian mythology, it has always been special to me. In mythology, the Egyptian god Khepri was depicted as a scarab beetle. Egyptians believed that Khepri renewed the sun every day before rolling it above the horizon, then carried it through into the other world after sunset, only to renew it again, the next day. What inspires you? Even as a child, in the company of my family members, I had the opportunity to wander through the ancient alleyways of Istanbul and the hidden nooks and crannies of numerous cities we were travelling to for antique hunting. Treasure hunting and our family travels in the search of beautiful pieces has inspired me throughout my entire life.
GEMFIELDS X MUSE
Photography: Supplied
Turkish jeweller Begüm Khan’s jewellery is featured on Musexmuse.com
Begüm, tell us about Muse Showroom. When my talented friend Nikos Koulis introduced me to Muse, I already knew about them and followed their beautiful work. I always loved the way they find the most creative designers in the world, combining the best craftmanship with the most precious gemstones. Their passion to create beautiful pieces is really admirable. Why did you pursue a career in jewellery? I was raised in Turkey, which is a melting pot of eastern and western cultures, and born to a family of Ottoman art and antique collectors. I grew up with the eyes of a connoisseur. I always dreamed of creating timeless pieces with a touch of old-world glamour for the contemporary woman’s lifestyle. I love the idea that we can dress with jewels and I always translate beautiful fabric into my jewellery designs. Tell us about your design aesthetic? I always love what is whimsical, different and quirky. What is traditionally considered ugly is very beautiful to me. A bug, a spider, an ant, a scarab or tortoise are all very inspiring; unique animals with character. When my passion for unusual figures was combined with Gemfields’ precious rubies and emeralds – Voila! We have the most precious bugs in the world.
Sam Hines, worldwide head of Sotheby’s watch division
How To Start a Watch Collection
From where to begin to knowing where to buy, Sam Hines, worldwide head of Sotheby’s watch division, reveals his tips for collecting watches
Identify which particular area of watch collecting you like. For example, you might choose to focus on antique pocket watches, you might have a passion for vintage wristwatches (this term is used to describe a watch made before 1985) or you might wish to focus on contemporary watches.
It’s important to look at the physical characteristics of a watch. For example, check that the case has not been overly polished as this can affect the value and appreciation of the piece.
Photography: Supplied
Look for a watch which is ‘unseen on the market’, meaning it has never been offered at an auction before. Never be afraid to pay for the very best quality.
If you are considering buying a contemporary wristwatch, make sure that the accessories are included with the watch. This is very important for recently-made pieces.
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Do your research. It is important to always double or triple check the asking price before you decide to go ahead with a purchase. Take advantage of the huge resource of auction house websites – in particular, look for past examples, similar to your interests, and you can track the kinds of prices they have achieved.
Whatever area you have chosen to focus on, aim to buy the most original example you can find. Today’s collectors focus on original features as these are the rarest and they set a watch apart from others which may have been altered over time.
Confirm that the watch’s dial is original and has not been repainted. Connoisseurs know that a dial which is not original to the watch, or has been altered, holds far less appeal.
Stick to models with limited production. The fewer examples of a watch, the more desirable it is because collectors are always looking for rarity. So be sure to seek out limited series.
Capture Me bracelets in gold and titanium, AKILLIS
RING CHANGES THE
With stylish men increasingly adding creative cufflinks, bracelets, rings and even necklaces to their looks, the days of boring, plain accessories are over and the men’s jewellery sector is booming
Photography: Supplied. Gorunway.com
Words by Peter Iantorno
MEN’S JEWELLERY
QASIMI
MEN ARE MORE FREE TO EXPRESS THEMSELVES AND ONE OF THE WAYS THEY DO THAT IS THROUGH FASHION. MARK ARMSTRONG PEDDIGREW ALEXANDER MCQUEEN
T
here was a time not so long ago when men’s jewellery was almost exclusively the preserve of rock stars, goths and hip hop artists, with the average man stretching to a watch or plain set of cufflinks if he was feeling particularly flashy. However, nowadays all that has changed, as men’s tastes in jewellery develop and their choices become bolder, creative cufflinks, lapel pins, bracelets, rings and even necklaces are now ubiquitous not just among the fashion-forward few, but the average man on the street, too. “Recently, I think men have enjoyed a bit of a fashion revolution – it has become much more accessible and is now for everybody,” says New York-based jewellery designer Mark Armstrong Peddigrew. “Previous societal walls are being removed; men are more free to express themselves and one of the ways they do that is through fashion.” Mark is in a better position than most to see how
men’s tastes in jewellery has changed in recent years. A former personal trainer to singer-songwriter Rufus Wainwright, he started his jewellery brand Cartography in 2012, and since then he’s thrived in an industry that is developing at speed. “I definitely believe men have become more bold in their choices,” he tells MOJEH. “I think this is a direct influence of African-American culture and the hip-hop community, wherein black men and women are, in many ways, driving a vibrancy throughout the world never before seen and it’s so cool. Their bolder, more exciting looks are trickling down into everyday street fashion and allowing men to be more creative and expressive.” With statistics from market researcher Euromonitor International putting last year’s global sales of men’s luxury fine jewellery at Dhs19.5 billion – a 22 per cent increase on 2012’s total of Dhs15.8 billion – the industry is experiencing solid growth. And
OLIVER SPENCER
ACROSS THE BOARD, MEN ARE LOOKING FOR SOMETHING MORE PERSONAL THAN JUST A WATCH. DANNY MUKHI CHARLES JEFFREY LOVERBOY
that growth isn’t just coming from the States – it’s reached our shores, too. Dubai-based jewellery designer Jan D’Sa has noticed a major change in attitudes in recent years. “Modern, stylish men know what they want and they go for it,” she says. “There’s a growing market driven by men who want something flamboyant, something lively, something that makes them feel joyful,” she continues. “While there will always be men who prefer to wear a ‘safe’ pair of plain cufflinks, I’m certainly seeing more and more men looking for something a bit different, from boutonnières, to heavily patterned pocket squares and even rings, bracelets and necklaces. These are the kind of men I want to design for.” But what is this change in attitude down to? According to Jan, social media has a large part to play. “Social media has changed the way we see things, do things, where we shop, how we make those shopping decisions, and even how we perceive fashion and jewellery,” she
says. “The rise of male fashionistas on Instagram has had a massive impact on the industry, as it has inspired men to start paying far more attention to the way they style themselves. It’s fascinating to watch and it will be interesting to see just how far it can go.” Mark, too, is a big believer in the power of celebrity – something he witnessed firsthand when actor Tom Hardy wore one of his lapel pins on the red carpet for his recent blockbuster Venom. “Social media, influencers and celebrities have been critical to the increase in visibility of men’s jewellery,” he says. “When I get press – whether it’s traditional hard copy or social postings – there is a significant increase of traffic to my site. When I first started, good press was a cornerstone of my success and without certain endorsements, the company would be nowhere near where it is today. These platforms play a huge part in how consumers shop today – something that, I believe, parlays into the struggle of brick and mortars and the success of online retailers.”
LANVIN
With the industry being driven by celebrity and social media, it’s no surprise that Millennials and Generation Z represent the bulk of the men’s jewellery market. “They are definitely my largest customer base,” says Mark of the younger generation. “They are a generation that were raised to be individuals – to stand apart from the crowd. One way people differentiate themselves from others is through fashion, and so we have a group of young people actively seeking ways to not fit in from a very early age.” Younger men have always been generally bolder in their fashion choices than older men, and according to Danny Mukhi, founder and CEO of multi-branded jewellery retailer Istana, the jewellery industry is no different. “Our male customer base is quite varied,” he says. “Older male customers are looking for more traditional pieces such as watches, customised shirt buttons and cufflinks, whereas younger customers are leaning towards edgier pieces in brighter colours.” While the age of the buyer is certainly a major factor in the choice of jewellery, Danny has noticed a general shift away from tradition, irrespective of age group. “Across the board, men are looking for something more personal than just a watch,” he says. “They are looking for something that will stand out and reflect their individual tastes.” With jewellery now a major weapon in every man’s style armoury, it makes sense that, just like with clothing, the runway is very much the place to look if you want to find out what’s going to be hot in the world of jewellery. Pretty much all of the major players have embraced the trend, with the likes of Gucci, Channel, Givenchy and Missoni all featuring jewellery prominently in their spring/summer 2019 collections. Dior’s new artistic director Kim Jones took things one step further; he showed his faith that men’s jewellery is here to stay by hiring Yoon Anh, co-founder of jewellery label Ambush, as the specialist jewellery designer for the brand’s spring/summer 2019 collection. Her debut collection for the brand was about as bold as men’s jewellery gets, featuring a plethora of multicoloured and jewel-encrusted pieces, including an eye-catching set of gleaming alphabet rings that spell out the word ‘Dior’. The women’s jewellery sector still comfortably outsells the male market (Euromonitor estimates it to be worth more than Dhs117 billion, compared with just Dhs19.5 million for men), and according to Mark, there’s a practical reason for that. “I think that men choose their jewellery more carefully than women,” he says. “Whereas women often have many pieces of jewellery, men tend to have a few statement pieces – something they wear every day, something that becomes an extension and a representation of who they are, so it is chosen with more time and care.” Be that as it may, despite the gulf in sales figures between men’s and women’s jewellery, the very fact that everything from bracelets and rings to necklaces and pendants are now seen everywhere from our favourite Instagram personalities to the runway, can only be a good sign for a brighter, bolder future for men’s fashion.
DOLCE & GABBANA
Little Lange 1 Moon Phase, A. LANGE & Sร HNE
Minimal
DESIGN Maximal HEART
MOJEH sits down with Anthony de Haas, director of product development at A. Lange & Sรถhne, to discuss the craftsmanship behind placing storied movements inside slim designs Words by Kelly Baldwin
THE CRAFTSMANSHIP
Each watch is handcrafted in Glashütte, Germany
YOU’RE NOT GOING TO SEE A BIG CASE WITH A TINY MOVEMENT INSIDE IT AT LANGE. IT’S IN FASHION, BUT IT’S NOT US. ANTHONY DE HAAS
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hen considering highly-technical, mechanicallyadvanced timepieces, many buyers are attracted to size. Think hefty complications, giant cases and robust straps in dramatic materials. There’s another side to fine watchmaking however, and one which many connoisseurs would consider to be a true indication of craft and expertise: minimal design. Simply put – high tech and breakout mechanisms, encased within a delicate and compact model. “The design is understated, it’s the ‘German way’. We know small watches, it’s the way we think. But it’s still a challenge. How do you fit such a complicated mechanism, inside a small model?,” explains Anthony de Haas, director of product development at German watch house, A. Lange & Söhne. “You’re not going to see a big case with a tiny movement inside it at Lange. It’s in fashion, but it’s not us. If a Lange watch is big, there’s a reason,” Anthony explains. “The Lange 31, for example, is enormous, but it has a power reserve of 31 days.” By ‘enormous’, Anthony references a 45.9 by 15.9mm case, teamed with a 37.3 by 9.6mm movement. Still relatively tiny by Swiss watch making standards. A. Lange & Söhne’s first mechanical watch with a digital time display format, the Zeitwerk – now thriving and evolving for almost a decade – showcases great landmarks in fine watchmaking: a precise jumping numerals indicator and a time bridge which penetrates the dial and simultaneously constitutes the frame for all time indications. And, the calibre is still no bigger than 33.6 by 9.3mm. “At first we wondered if it was too niche a product, who was going to read the time digitally? But the feedback was inspiring,” says Anthony. “We actually gained a lot of new collectors through the Zeitwerk, including a vast, rapidly growing community of tech guys in Silicon Valley.” What would draw a group of digital-savvy people to a German-made, mechanical watch brand born over 170 years ago? Its size and simplicity. “They enjoy the ability of completely overseeing what’s happening with time.” A. Lange & Söhne offers a minimalistic mode of timekeeping, amit their fiercely unpredictable world. “Among each other, watchmakers will often say that thinner timepieces aren’t so good for accurate timekeeping. But they’re simply just more complexed,” Anthony continues. “There’s a vast interaction between our movement and product designers. A lot of emotion is involved because everyone is so passionate about the design. It’s my role to provoke the team, push them to make movements more complex but still thinner and thinner.” A.Lange & Söhne pieces are continually celebrated for being some of the most precise and refined models in the market, expertly melding minimal design, with maximal movement. Take this year’s 1815 Homage to Walter Lange, a tribute to the
maison’s founder, and inadvertently his great-grandfather Ferdinand Adolph Lange. The piece unites everything that Walter Lange envisioned in the perfect timepiece: a jumping sweep-seconds hand with a start-and-stop function that dates back to an invention conceived in 1867 by Ferdinand. And more importantly, even with a movement this extreme, the calibre still sits within the tiny dimensions of 31.6 by 6.1mm. The tribute is available in limited editions of pink gold at 90 models, yellow gold at 27, and white gold at 145, recalling cornerstones of Walter Lange’s career: In 1990, 27 years ago, the watchmaker reinstated the maison exactly 145 years after his great-grandfather founded it. “It usually takes at least two years to develop a movement that complexed, but Walter passed away in January 2017 which left us with just 10 months until it needed to be ready for SIHH,” explains Anthony. “We could have made a commercial piece, but Walter was always talking about the jumping second. If we truly wanted to honour him, it was the only way.” Its pièce de résistance is the crystal case-back, in which the intricate calibre can be enjoyed. To make this happen, perfection is key, and the unique two-fold assembly lies at the heart of the process. Once the individual components have been assembled into a smoothly functioning movement, it is then taken apart again. Why? Because, much like an art installation, each component must both work and look like a masterpiece. Before the second and final assembly, each mechanism is cleaned, polished, oiled and decorated. Lastly, the signature black polishing is achieved by sweeping parts across a zinc or tin plate until they gleam in black. “Exclusivity is key. If someone is willing to pay Dhs60,000 for a Saxonia, then he or she is a connoisseur,” Anthony refers to the house’s more modest model. “It’s expensive, but there’s no compromise whether entry-level or above. The level of devotion to craftsmanship is the same. It’s not a trend-led product, it’s something the owner should be able to cherish for a long time, which is why we champion a timeless, minimal design. No one is buying a A. Lange & Söhne watch to show off. Money talks, but wealth whispers.” Turn over for the latest A. Lange & Söhne launches, each complicated in its calibre but modest in its design...
Saxonia Moon Phase in white gold Case size: Diameter 40.0mm | Height 9.8mm Movement size: Diameter 30.4mm | Height 5.2mm Features: The Moon Phase combines two classic complications: outsized date and moon-phase display. A solid gold lunar disc, appliqués and crown help form the elegant and minimal look, while symmetric arrangement of the date display at 12 o’clock and of the moon-phase display at 6 o’clock encapsulates the complicated mechanism.
Little Lange 1 in white gold Case size: Diameter 36.8mm | Height 9.5mm Movement size: Diameter 30.6mm | Height 5.7mm Features: “Ladies watches have to look very feminine, but it’s much harder to achieve this with a German design,” says Anthony de Haas. A. Lange & Söhne attained this through a svelte and delicate design, which still features the A. Lange signature components: 72 hour power reserve; manually wound calibre L121.1 movement; and up/down indicator, to name a few.
Richard Lange Perpetual Calendar Terraluna in white gold Case size: Diameter 45.5mm | Height 16.5mm Movement size: Diameter 37.3mm | Height 11.1mm Features: A patented orbital moon-phase display is admired through a sapphire-crystal caseback – showcasing the maison’s penchant for delicate and refined design – as the sun and moon move in sync with the northern hemisphere. The model’s miniature complications make big statements, including the four precisely-jumping perpetual calendar displays: date, day of week, month and leap year.
Zeitwerk Minute Repeater in platinum Case size: Diameter 44.2mm | Height 14.1mm Movement size: Diameter 37.7mm | Height 10.9mm Features: “Sometimes you have a design in mind, but when it comes to realising it, it’s hard. There were some moments during this project in which I thought, ‘I don’t know, perhaps I was too optimistic,’” says Anthony. Through Zeitwerk, the team were challenged with fitting a large and complexed complication, (manually wound movement with constant-force escapement, inclusive of 771 parts and 93 jewels), inside their signature slimline design. The result is a modern triumph for thin watches.
1815 Homage to Walter Lange in yellow gold Case size: Diameter 40.5mm | Height 10.7mm Movement size: Diameter 31.6mm | Height 6.1mm Features: Developed in tribute to founder Walter Lange, it includes a jumping sweep-seconds hand with a start-and-stop function that salutes an invention conceived by his great-grandfather, Ferdinand Adolph Lange. Discreet yet technically magnificent. “We set an innovation through the jumping second that still looks like a quartz movement,” says Anthony.
PRESERVING CULTURE M
ore and more mainstream jewellery designers are becoming inspired by Arab culture. Jewels that incorporate the art of Arabic calligraphy and Middle Eastern motifs are increasing in popularity, championed by the likes of Roberto Coin – think diamond-drenched falcons, Salma Khalfan’s Alezan By SK – dramatic Arabian horses, and Jude Benhalim, who looks to the history of Egyptian jewellery to shape her contemporary creations. Born and raised in Egypt, the creative, who is of Libyan and Syrian descent, turns ancient tradition into modern pieces that somehow strike the balance between innovation and staying truthful to the past. “I would describe the aesthetic of my work as being a combination of contemporary art and OrientalArabic craft,” says Jude. It would seem upon learning about her family history that Jude’s jewellery career was meant to be, with a mother who worked in fashion and a father who works as an architect. “My jewellery is a young and modern take on traditional Egyptian jewellery and that is what I think gives my work its uniqueness,” she adds. “The modernisation of Arabic calligraphy in jewellery also adds to its boldness. My designs are inspired by modern art and architecture, sharp edges, and abstract constructions.” With her designs, Jude explains that she targets women with confidence, suggesting that perhaps a shift in societal attitudes could explain why there’s an increased interest in jewellery for both men and women that pays tribute to Arabic themes. “The women who wear my designs are bold with an edgy and daring sense of style,” she explains, “women who value their individuality.” Throughout the design process, Jude constantly refers to this kind of woman. “I design each piece of jewellery with a fearless female spirit in mind. Each design is an expression of this muse and each collection moves with her.” That being said, she goes on to explain that Middle Eastern motifs do particularly well in Europe and America. “There is an appreciation for Arabian themes and motifs because for the West, they are perceived as exotic and very uniquely ‘out of the box’. Now that the Middle East is on the global fashion map, there’s a noticeable appreciation for Arabian heritage and culture,” she suggests. Is it possible that events like Saudi Fashion Week have led to the skyrocketing demand for this kind of jewellery?
JEWELLERY TRENDS
Photography: D-Keine/Getty.com
The Middle East is well-known for its love of gold and diamonds, and Arab men and women are now showcasing their heritage through jewellery
From left: Falcon bracelet and Falcon cufflinks, ROBERTO COIN
Emerging Middle Eastern designers are certainly getting their chance to showcase their work alongside internationally renowned peers, and influential members of Saudi society such as Princess Noura bint Faisal Al-Saud have publicly praised the fashion industry, having worked hard to help the dreams of others come true by supporting local designers, both in fashion and jewellery. Dubai-based Bil Arabi is one of these designers; now one of the region’s most sought-after jewellery lines, Nadine Kanso launched the company in 2006 and frequently incorporates Arabic calligraphy in bold enamel on her precious pieces. Meanwhile, The Mukhi Sisters – Maya, Meena, and Zeenat – blend their heritage and family tradition with pioneering design, as does UAE-born Alia bin Omair, whose jewels depict the nature and foliage from the region – think fun-looking palm trees. Mother-and-daughter Nadine Hammond and Cherine Altobaishi are the design duo behind the regional jewellery brand NC Rocks. Their creative passion has been inherited, and thus their jewellery often draws on their multicultural heritage. The maison’s Byzantia necklace, for example, composed of sterling silver dipped in white rhodium, features dazzling diamonds and cabochon enamel in an avant-garde style that represents the grandeur of the Byzantine civilisation. “As Saudi women today, we are empowered by the change and evolution in our country,” says Nadine, before adding that their latest collection, called Armoria, was designed to reflect that sentiment. “Our pieces act as shields of armour, marking this new ideal,” she smiles.
For Cherine, it’s impossible not to embrace the Middle East in their work. “We launched our brand in New York and Paris, so our future plan is to focus more on our brand presence in that region,” she admits, thus agreeing with Jude that the West’s demand for Middle Eastern jewellers is growing. That being said, the duo have recently relocated back to Saudi Arabia from Dubai, which seems to be evolving into a luxury hub that’s a force to be reckoned with. It would certainly seem that, no matter where jewellery is being sold or, in fact, where the brands are based, the desire worldwide for Arabic-styled jewellery is on the increase. Whether it is because of a greater understanding of the region’s culture due to social and political changes, or whether it’s because jewellers from the Middle East are showcasing their skillsets on worldwide platforms more often than generations have previously, it’s yet to be decided. But one thing’s for sure, there’ll certainly be more things to come from the region’s emerging scene of jewellery designers.
For the
LOVE GOLD HRH Princess Nourah Al Faisal of Saudi Arabia, founder of Nuun Jewels, shares her love for exceptional craftmanship and the inspiration behind her latest collection
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himmering gemstones including watermelon tourmaline, morganite and aquamarine dominate Nuun Jewels’ breathtakingly beautiful pieces. Offset by coloured lacquer in sculptural 18-karat gold mounts, often accented using dashes of diamonds, each piece is unique, and features ethically-sourced gemstones that are spellbinding. HRH Nourah Al Faisal is the talented creative behind the fine and high jewellery maison, having first launched the brand back in 2014. Her latest line, called the Constellation collection, takes inspiration from the movement of the stars and beauty of the planets in the night sky. “The Constellation collection is a limited series of high jewellery pieces in both white and yellow gold with white diamonds,” she explains enthusiastically. “It culminates in a very special one-ofa-kind ring that combines a beautiful circular rose-cut
diamond with a few other surprises,” she reveals, with the hint of a smile. What makes the Constellation ring so extraordinary is its centrepiece diamond, which weighs an impressive total of 3.26 carats. The 18-karat white gold structure, meanwhile, can be removed to allow the wearer choice over how the piece is worn, depending on her occasion or setting. It could be argued that rings are Nourah’s forté – the Yellow 3 Diamond Bands ring from her Tasali collection in 18-karat gold features three lines of diamonds that weigh 1.98 carats, while her Lapis and Diamond ring, another spectacular piece, is available in 18-karat gold or rose gold alongside a beautiful fancy-cut diamond weighing 0.64 carats. Part of the designer’s method is to try and find balance using asymmetry, having long been fascinated by the imperfections of nature, particularly once the sun has gone down. “The night sky continues to be a major source of inspiration for me,” she says. “The heavens are full of so much beauty and there are so many ways to portray it. I am sure that I will be inspired for many years to come.” The Constellation collection, for Nourah, is a way for her to further explore her interest in achieving flawed perfection. “I think the collection is a continuation – the next logical step, if you like – in my attempts at finding
R E G I O N A L TA L E N T
Photography: Tina Patni. Styling: Stuart Robertson. Words: Annie Darling
of
Tasali Yellow 3 Diamonds Bands ring, NUUN JEWELS
Lapis and Diamond ring, NUUN JEWELS
ARAB WOMEN HAVE A HIGH APPRECIATION FOR GOOD DESIGN AND A REAL UNDERSTANDING OF WHAT THEY DO AND DO NOT LIKE. HRH NOURAH AL FAISAL
beauty in asymmetry. I started experimenting with this during my original Tuwaiq collection.” Previous suites by Nuun Jewels have taken on a more personal note, and have depicted memories from Nourah’s own childhood and family in Saudi Arabia. Her Eighties-themed El Hada Etude collection blends vibrant lacquers with diamonds and other precious gemstones. Her young niece, meanwhile, acted as muse for her second Tutti collection, which embraced innocence and celebrated youth, sentiments that were reflected in an array of star motifs smothered in pastel-coloured lacquer. “I would like to think that my jewellery is worn by someone that appreciates quality and good jewellery design,” reveals Nourah when asked about the kinds of women she designs jewellery for. “My clients know what they like, and want something that reflects their individuality.” Which is important for a jeweller who is catering to a contemporary clientele. “I make modern pieces,” she says of her aesthetic, “and I use precious metals and gemstones to create pieces that are absolutely what you would call high jewellery, but that you would also refer to as wearable.” Before establishing her own label, Nourah spent 15 years on private commissions in Saudi Arabia, having studied multiple courses in art and design in London and having completed an apprenticeship at a workshop in Paris’ Place Vendôme. This experience has given her an insider’s insight into what does and doesn’t work in the jewellery business. She’s particularly knowledgeable when it comes to different materials. “I work with precious metals as well as titanium, and use precious gems, but I also love to use stones like quartz, as well as lapis lazuli and malachite,” she says of her structures. “Opals feature in a lot of my pieces too, but honestly – I
will use whatever materials work best for the piece.” Despite her years spent travelling Europe and beyond, the designer is very much in tune with the women of the Middle East. “Arab women have a high appreciation for good design and a real understanding of what they do and do not like,” she says, but she adds that it’s incorrect to assume they have a specific taste in jewellery. “The world being as connected as it is now, aren’t we all international?” She asks. “There is an aesthetic that is associated with the Middle East in general,” she acknowledges, “but that isn’t necessarily reflected in local market purchases,” she insists. And while her own history and heritage features in her various jewellery collections, Nourah reveals that it’s a coincidence rather than a deliberate necessity. “As a jeweller, I don’t set out with the idea that I must represent my culture,” she explains. “Instead, I represent myself as a human being. My culture is a part of who I am, of course, but isn’t that the case with all of us?” As a supporter for the arts, she’s delighted by the ever-evolving art and design scene that’s currently dominating the UAE and wider Middle Eastern region. “There is so much talent,” she says happily. “So many young jewellery designers are coming up, and it’s truly inspiring. I believe over the next few years we will witness a renaissance in all aspects of design. We will be exporting our jewellery all over the world.” And as for Nuun Jewels, what does the future have in store for Nourah? “I will continue doing what I love, which is designing and making jewellery,” she reveals, “but I am also spending more of my time supporting and championing our design industry in the region.”
Ralph & Russo’s iconic creations are paired with David Morris’ bespoke pieces at an intimate event at the British Embassy in Paris
WHEN WORLDS
COLLIDE Words by Natalie Trevis
T H E C O L L A B O R AT I O N
Photography: Supplied
If there were ever a match made in heaven, it is the pairing of haute couture and rare gemstones
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aris in July comes alive with the anticipation of beauty, as runways are graced with a parade of one-of-a-kind haute couture creations. But it isn’t only diaphanous dresses and avant-garde tailoring that has illuminated the City of Light in recent years, it’s the rarest of gemstones, as fashion houses and the world’s finest jewellers combine their talents in the spirit of mutual appreciation and, ultimately, an understanding that their target customer is the very same woman. Jewellery maisons from Graff to DeBeers have traditionally presented their high jewellery collections during couture week to take advantage of the bi-annual gathering of high-rolling couture clients to the city. Yet now we see the further intertwining of fashion and jewellery – offered as a shared vision on the runway – and it is proving a powerful force that looks set to bring the worlds of fashion and jewellery closer than ever before. Luxe pairings, whether Ralph & Russo and David Morris, Stephane Rolland and Boghossian, Ulyana Sergeenko and Faidee or Giambattista Valli and Chopard have ensured that recent couture collections make double the impact. “We’d collaborated with David Morris previously on an event at the French embassy and found there was a great synergy between the jewellery and the couture,” Michael Russo tells MOJEH. “As London-based luxury brands committed to designing and crafting pieces using rare and exquisite materials, our brands share many of the same values, so it seemed only natural to continue our collaboration.” The bond between creative minds continued to flourish, culminating in their collaboration on Ralph & Russo’s autumn/winter 2018 couture presentation. Amid frothy feathers, daring sheer fabrics and jewel-encrusted collars inspired by Parisian socialite Jacqueline de Ribes, David Morris proffered intensely hued statement earrings and chokers that rhapsodised with the jewel tones of the gowns. “Jewellery provides a wonderful opportunity to embellish your clothing,” says creative director Tamara Ralph of the collection. “It also adds even more of a personal touch to your outfit because each piece of jewellery is unique and there is often a story or occasion behind it... we have always offered the pairing of jewellery as a part of our service because we believe it’s important to look at the bigger picture and to feel confident in your entire style choice.” Famed for its work with rubies and emeralds, Genevabased jewellery maison Boghossian cites the obvious synergies between the artistic crafts of couture and jewellery design as inspiration for its collaboration with Stephane Rolland. Boghossian chief executive Albert Boghossian and Stephane were introduced a year ago by mutual friends and discovered a shared passion for combining inspiration from the past with a contemporary aesthetic in order to take their respective arts into unchartered territory. “To me, high jewellery and haute couture share the same core guideline,” says Albert, “to make the woman who wears them dream and travel to the limits of what is possible. Haute joaillerie and haute couture are meticulous and delicate work of ‘little hands’: unique works of art imbued with the know-how passed down for generations, that come alive thanks to the talent of these craftsmen. Both arts entail very intricate work,
Dunhuang necklace, BOGHOSSIAN
David Morris teams up with Ralph & Russo for its A/W18 haute couture catwalk
Anneau necklace with diamonds, VAN CLEEF & ARPELS
Green Carpet ring in white gold with emeralds, CHOPARD
JEWELLERY AND COUTURE DESIGN ARE ART FORMS THAT ARE EVEN STRONGER WHEN CELEBRATED TOGETHER. MICHAEL RUSSO
with results that drastically differ yet harmoniously blend together if done the right way.” Developing a shared idea while maintaining a degree of creative independence is a delicate balance to strike for strong-minded creatives in different fields and yet the result revives a golden age of couture in which designers and jewellers would work together to perfect a look where jewellery and clothing have a fluid, natural dialogue rather than compete with one another. “Jewellery, like couture, is incredibly unique,” notes Tamara, “so it was important for us to alert the team at David Morris early in the design process of the inspiration and colour palette that we were looking to work with this season. When pairing we were never just looking for the jewels to complement the couture; we wanted the jewels to add impact.” Selling the dream to the modern woman requires cohesion between what have traditionally been very distinct crafts. Today’s couture and high jewellery client is not going to be convinced by mere styling. “The clothing and the jewellery must respect and complement one another,” says Albert. “It is important that one does not overshadow the other. When you collaborate on a particular collection with someone, there needs to be a common theme among both arts. The common thread of the Silk Road collection worked well for both of us because we were each able to freely give way to our artistic interpretation of this mystical trade route, yet link our designs together in a very organic way.” Great, artistic, minds clearly think alike when it comes to the craftsmanship, technique and unparalleled materials required to produce a couture gown or a piece of haute joaillerie, but as couture houses seek to widen their appeal to a younger demographic are these runway collaborations a visible way for jewellery maisons to do the same? A 2016 study by DeBeers highlighted that the “most important
Precious earrings in white gold with emeralds and diamonds, CHOPARD
Cactus de Cartier bag with yellow gold, chrysoprase, lapis lazuli and diamonds, CARTIER
Photography: Yvan Fabing/Cartier
Cactus de Cartier bag with blue and green crocodile skin, CARTIER
cohort for diamond jewellery purchases” are 18- to 34-year-old millennials, whose earning capacity is peaking at the same time as emerging jewellers and numerous fashion brands compete for their attention. For these women, jewellery is often self-gifted to mark a personal milestone and expresses individuality rather than status or marriage. Brands that women feel represent them or that align with their style or philosophy always come out on top, along with jewellery designs that allow the customer to buy into them as a form of self-expression. Giambattista Valli’s autumn/winter 2018 couture collection successfully tapped into the luxe side of this youthful market in a collection of torso-baring silk duchesse bandeau tops, faux fur and even a boiler suit silhouette. “…I have a very young customer,” says Giambattista of the collection. “They give a new attitude to haute couture – or at least to my eyes.” Yet stacked nonchalantly atop one of Giambattista’s black silk crepe creations is a traditional, heritage-laden Chopard multi-stranded diamond necklace of exceptional clarity; transformed into something infinitely desirable to all generations. Chopard’s artistic director Caroline Scheufele and Giambattista Valli discovered a shared passion for creative adventures upon meeting, resulting in this jaw dropping display of exceptional pieces, including a necklace of 17 rare, non-oil Colombian emeralds alternated with pure D-flawless diamonds and a pear-shaped gem of more than 20 carats. For Chopard – a jeweller member of the Fédération Française de la Haute Couture et de la Mode – the canny match with Giambattista Valli may well have set in motion the jewellery-buying traditions of a whole new generation of Chopard customers. The power duos don’t stop at couture but encapsulate ready-to-wear, as well as the growing market in fine and
Italian model Mariacarla Boscono wearing Cactus de Cartier ring, CARTIER
demi-fine jewellery. Other notable collaborations include Brazilian jewellery designer Ana Khouri and Narciso Rodriguez in 2015, where Ana’s sculptural matte earrings made an impact in the spring/summer 2016 collection, Christophe Lemaire and Sarah-Linh Tran’s partnership with the Los Angeles jeweller Sophie Buhai, Paul Smith’s ongoing support of emerging jewellery designer Rachel Entwistle and the Yeezy jewellery collection of 2017, designed in collaboration with Jacob & Co.’s Jacob Arabo. The rise and visibility of fashion and jewellery alliances means jewellery designers are making their influence felt at every level of the fashion industry, not as mere accessories to the collections but an integral part of the creative direction of the clothes themselves. It marks a shift away from the idea that a luxury brand is an island, or simply competition for other brands: a policy that doesn’t work for today’s woman who is seeking both convenience and self-expression in her style and jewellery purchases. Increasingly, it is an acceptance and appreciation of each other’s art forms and a mutual communication (and benefit) that drives jewellery and fashion partnerships: they are sustained by being about much more than the styling of a necklace with a dress. Will we continue to see such collaborations in coming seasons? “Definitely,” says Michael, “jewellery and couture design are art forms that are even stronger when celebrated together.”
NEW FRONTIERS Charlotte Casiraghi talks philosophy, privilege and fashion’s preconceptions as she unveils her jewellery collection for Montblanc
Words by Sarah Royce-Greensill
CELEBRITY INTERVIEW
Photography: Cyrille George Jerusalmi/Montblanc. Words: The Telegraph/The Interview People
Charlotte Casiraghi, daughter of Princess Caroline of Monaco, celebrates her first collection with Montblanc
THE IDEA WAS TO OFFER THE FREEDOM TO BE THE PERSON YOU WANT TO BE. CHARLOTTE CASIRAGHI
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harlotte Casiraghi, 11th in line to the Monégasque throne, the granddaughter of Rainier III, Prince of Monaco and Grace Kelly, is frowning intently as she considers the themes of identity, love and freedom of expression. We’re in the study of a monochrome villa near Cannes, where the 32-year-old is hosting a dinner to celebrate her first jewellery collection for Montblanc. While most celebrities who dabble in design for luxury brands tend to keep things light and breezy, Charlotte responds to each question with deep, intense thought. But then, most celebrities don’t have a BA in philosophy, haven’t founded a philosophical think tank or co-authored a book on the subject. “I started reading poetry when I was 11 or 12 and discovered a lot of literature, so I was in tune with existential questions from a very young age,” says Charlotte, who is also an accomplished showjumper. “These questions helped me structure my thoughts and... not necessarily find the answers but live better with that intensity.” It doesn’t take a psychologist to surmise that some of that ‘intensity’ came from a childhood in which Charlotte’s mother, who would later become Caroline, Princess of Hanover, moved Charlotte and her two brothers from Monaco to a small commune near Avignon to shield them from attention following the death of her husband, the Italian industrialist Stefano Casiraghi, during a boat race in 1990 when his daughter was only four. Charlotte has always preferred privacy. Although she competes in the Longines Global Champions Tour and in 2010 took over from her mother as honorary president of the Jumping International de Monte-Carlo, she rarely gives interviews and is fiercely guarded about her personal life. She has a four-year-old son, Raphaël, with her former partner, the Moroccan stand-up comedian and actor Gad Elmaleh, and at the time of our meeting during the Cannes Film Festival in May she was yet to confirm the news that she was expecting a baby with her film producer fiancé Dimitri Rassam, the son of French actress Carole Bouquet. Charlotte’s collection for Montblanc, for whom she has been an ambassador since 2015, is called Les Aimants (the lovers), and was inspired by shipping heiress Nancy
Cunard. A muse and mistress to artists and writers in the 1920s and ’30s, Nancy was a style icon and political activist who campaigned for civil rights and against fascism. “She broke away from any preconceptions to do with her background,” explains Charlotte of her choice. “She was the person she wanted to be. She took risks in order to live a free life, and maybe she paid the price of that intensity as well,” she muses, acknowledging Nancy’s struggles with mental illness. Did Charlotte feel any personal connection with this woman from an immensely privileged background, who used her platform to raise awareness for those less fortunate? “I’ve never thought of it that way and I don’t think people like Nancy thought of it as, ‘I’m going to use where I come from.’ I think she was carried by a force, a feeling of urgency. It’s part of who she was. I’ve always thought if you are given the chance to express your ideas then you have to give visibility to those people who don’t have a voice.” The starting point for the collection was a 1930s photograph of Nancy that Montblanc’s creative director, Zaim Kamal, brought along to their first meeting. Nancy’s slender arms are stacked with the oversized African ivory bangles that became her signature, and formed the basis of Les Aimants. In black or white resin or silver, thick or thin, transparent or opaque, the pieces represent the attraction of opposites, says Zaim. The concept is literal too: tiny magnets between the bangles mean they attract or repel each other, depending on how they’re stacked. “The simplicity of the pieces belies the complexity that went into them,” he says – which is true as much for their construction as the thought behind them. “Fashion today is so codified: if you buy a certain bag, you become part of a tribe,” says Charlotte. “I didn’t want the jewellery to classify you as one thing or another. It can be minimal or excessive, androgynous or feminine, depending on how you style it. The idea was to offer the freedom to be the person you want to be.” Like Nancy, she’s comfortable juxtaposing more abstract concepts with her interest in fashion. “One doesn’t exclude the other. The philosophy of fashion is a fascinating subject: we can read our own history within the way we dress.”
Behind-the-scenes on the campaign shoot for Montblanc’s Les Aimants collection by Charlotte Casiraghi
TEST OF TIME With the Silk collection, the House of Boghossian celebrates ancient Chinese craftsmanship that dominated the Silk Road’s trading route centuries ago
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Samarkand bracelet, earrings and rings, with round-shaped diamonds, fancy-shaped diamonds, coral, lapis lazuli and turquoise, BOGHOSSIAN
istory is full of long and legendary highways but none come close to the Silk Road, as understood by Boghossian. It’s not just the length (at least 4,000 miles, in more than 40 countries) that makes this journey a melting pot of inspiration for the globetrotters among us, but it oozes a mythic potency that wholeheartedly captures the imagination. A family of jewellers six generations long, Boghossian has roots in Armenia, so it’s unsurprising that the maison has been inspired by the region’s rich history, which is brimming with colourful stories of audacious merchants and craftsmen who lined the Silk Road. Its latest suite, called Silk collection, pays tribute to the renowned trading route, which has existed in one form or another since the 4th century BC. Chinese silk, spices, ivory, jade and fur were swapped for one another along the route that stretched from the far corners of the East to the West.
The road forged deep social, cultural and religious links between disparate peoples, which is celebrated in the House of Boghossian’s magnificent high jewellery line. “Each set in this collection is inspired by key oases along the Silk Road,” Albert Boghossian tells MOJEH. Among others, Boghossian takes special interest in the hugely influential Sogdian messengers who would speed through postal stations on their horses so hastily, that ancient Greek historian Herodotus famously declared that “neither snow, nor rain, nor heart, nor darkness of night” could prevent the men from completing their journey. In the world of high jewellery, technological innovations continue to influence the masterpieces that high-end brands release year after year. For this collection, Boghossian has opted instead to commerate the ancient craftsmanship techniques that remain paramount to
THE COLLECTION
Photography: Supplied. Words: Annie Darling
Nishapur necklace, earrings and ring with Colombian round-shaped emeralds, natural pearls, jadeite and mother-of-pearl, BOGHOSSIAN
Silk necklace featuring 14 diamonds weighing 5.61 carats, BOGHOSSIAN
Boghossian’s map of the ancient Silk Route
the production of bespoke, intricate pieces that hold value which go beyond the monetary. The Silk necklace, for example, has been handcrafted by extraordinary materials that utilised antique techniques in addition to contemporary ones. Pure gold was delicately spun into threads as fine as silk, before being strengthened, and elegantly woven into an intricate gauze. The golden flower pendant was then created using an ancient Chinese method of silk manufacture, which allows the gold gauze to be suspended from the finest of frames, culminating in a beautiful storied piece of contemporary excellence. “The silk craft is a very noble art,” wrote one 16-century writer according to Boghossian, “worthy of being plied by any true gentleman... It is a craft that exalts the rich and helps the poor; and great skills are needed to ply it since it involves an infinitude of operations; no one is to be found who is capable of
doing on his own the many tasks that it involves.” The Venice set, meanwhile, pays homage to the Silk Road’s final destination. Arabesque elegance and lavish refinement is depicted using emerald, mother-of-pearl and diamonds with utmost precision. For its necklace, every panel is linked with emerald beads on diamond frames in order to create the impact of ultimate luxury. And in another nod to the storied city, black gold frames for diamonds were structured to replicate the cast-iron grills that were used to protect the Venetian palazzos from unwanted intruders. And, of course, the spectacular Mardin necklace showcases a repeated elliptical pattern of interlaced motifs featuring sparkling aquamarines, which not only pays homage to the origins of the Boghossian family – Mardin, Turkey, is where, six generations ago, the family first established themselves as jewellers – but to celebrate a culture steeped in history. Without doubt, the House of Boghossian’s decision to interpret the art of ancient silk weavers into its beautiful jewellery is inspired – the result is stupendous, and takes wearers and appreciators alike on a magnificent journey through time and place. The effort and narrative that’s gone into each set is evident in the superbly-finished pieces, as stories and gemstones are interwoven together seamlessly in an intricate tapestry of culture and colour.
ICONS of IMPACT Photography: Tina Patni. Styling: Stuart Robertson. Words: Annie Darling
Strong beauty and timeless elegance resonates from Cartier’s numerous high jewellery collections. The Panthère de Cartier is a timeless motif that is both predatory and magnificent, but it’s not the only icon that’s been championed by this distinguished maison. MOJEH investigates the greater significance of some of its most exquisite pieces...
JEWELLERY MOTIFS
PARADE OF PANTHERS A dramatic and luxurious high jewellery creation in yellow gold, this bracelet is set with obsidians, tsavorite garnet, onyx, brown brilliant-cut diamonds and white diamonds. The piece celebrates two major themes championed by Cartier: geometry and naturalism.
F
rom the Trinity and the Panther to the Love bracelet and Juste un Clou, icons and motifs have been an integral part of Cartier’s esteemed identity since the Forties. The maison’s numerous sources of inspiration for collections range from the literal – Cactus de Cartier’s colourful cacti, for example – to the abstract, and although the theme may change one thing always remains a certainty: The result is a phenomenal collection that bursts at the seams with noteworthy creations that are highly-desired by even the most fastidious high jewellery client. It was certainly a joy to see the brand’s interpretation of the desert flower in the highly-anticipated Cactus de Cartier line, which was revealed in 2016, particularly because it’s a plant species that has rarely – if ever – been tackled by a jeweller as formidable. Instead of replicating the plant’s structures, the collection is flush with deeply ribbed barrel shapes that span rings, cuffs and earrings. Often completed with pretty offbeat top knots of berry-like fruit, jagged diamond flowers contrast against smooth, chunky cocktail rings and stylised shapes, which stretch over yellow gold mottled with bright-blue lapis lazuli and diamonds. There’s also, of course, an abundance of chrysoprase – an apple-green hardstone – which, combined with red carnelian, is as vividly verdant as a cacti-strewn wasteland could be. It’s not uncommon for the maison’s craftsmen and women to also conceptualise pieces that echo the company’s vast and historic archives. Echoes of Tutti Frutti, arguably the most memorable motif of the Art Deco period during the Twenties, is characterised by a medley of kaleidoscopic carved gemstones, and references can be found in many of the more recent high jewellery suites, many of which boast semi-precious stones in a muted palette of greys and pinkish-reds in the form of rubellites, peridots and garnets. Current collections that pay tribute to this era beautifully reflect its exuberant riot of coloured stones that chaotically represent a society shedding the repressive rules of a bygone past. The Collier Rajastan, a splendid creation which is part of the Magicien high jewellery line, took a breathtaking 5,220 hours to complete, and can be worn three ways, with
an antique 136.97-carat cushion-shaped emerald centrepiece, that can further be worn as a brooch. The world-famous panther, meanwhile, was first championed by the maison in the form of a bracelet wristwatch design in 1914. Comprised of diamonds and onyx, set in platinum, the timepiece was extremely elegant, although modest when one admires the extraordinary masterpieces that have been unveiled in recent years. Of course, there are some particularly exceptional creations that will forever stand the test of time, not only for its motif, but for the history that’s become inherently attached to it. For example, the gold panther brooch commissioned by the Duke of Windsor as a gift for his wife. Louis Carter personally designed the jewel, which was flecked with black enamel and featured dazzling emerald eyes that sat atop a jaw-droppingly beautiful 116.74-carat cabochon emerald. Unsurprisingly, the duchess enquired about the production of a second brooch some 12 months later, which included a threedimensional pavé-diamond panther with sapphire spots, perched above a 152.35-carat cabochon sapphire. And, of course, there are the designs of Aldo Cipullo. Born in Italy, Aldo joined Cartier’s New York-based jewellery team in 1969, and within his first year at the company he would unveil the deliciously simple Love bracelet. Inspired by the concept of a chastity belt, as well as the belief that love should be everlasting, the bracelet can only be locked and unlocked onto the wearer’s wrist with a screwdriver. Upon it’s reveal, the line quickly became a favourite among style-savvy A-listers, including Elizabeth Taylor and Richard Burton, Nancy and Frank Sinatra, and Sophia Loren and Carlo Ponti. Three years later, Aldo revamped his by-then coveted design, and thus the Juste un Clou was born. The bracelet’s direct translation means ‘just a nail’. Supremely simple and sleek, its curve wraps around the wrist, and is available drenched in diamonds, as well as various metals. Not only did it become a musthave accessory for those in ’70s New York, it continues to be worn worldwide today, with additions frequently added each year. Proof that Cartier’s impeccable taste and craftsmanship, no matter how elaborate or uncomplicated, is as longlasting as it is praiseworthy.
HAMMER AND NAILS 18-karat white gold, set with 374 brilliant-cut diamonds totalling 2.26 carats, is what makes this Juste un Clou bracelet unlike any other. The collection is inspired by nails, with the first bracelet created in New York during the ’70s. An outrageous appropriation of the nail as jewellery, the line has always been avant-garde and audacious.
BIRD OF PREY A symbol of optimism, the characterful bird depicted swinging from Les Oiseaux Libérés necklace was first designed in 1942. Made from 18-karat pink gold, set with emeralds, grey mother-of-pearl and 244 brilliant-cut diamonds totalling 2.07 carats, it’s quite spectacular.
EXQUISITELY PRICKLY A free-spirited collection of powerful, sculptural pieces, Cactus de Cartier features this 18-karat yellow gold bracelet, which is set with 16 chrysoprase, 14 lapis lazulis and 36 brilliant-cut diamonds totalling 0.76 carats. What was once untouchable, becomes accessible; making the impossible seem possible.
DOUBLE DOWN Cartier has always been one to break boundaries, as seen here with this two-finger white gold ring, set with rubies, rock crystal and diamonds. Clever layers build the piece’s overall brilliance, and offers admirers multiple illusions, depending on the angle from which it is seen.
ALL THE LOVERS The Les Oiseaux LibĂŠrĂŠs ring in 18-karat white gold, set with sapphires, emeralds, ceramic, and brilliantcut diamonds features two lively birds, perched atop an onyx bar, playfully trysting with one another.
A Possession pendant in 18-karat rose gold, PIAGET
POSITIVE FOCUS Interview by Mojeh Izadpanah
MOJEH INTERVIEW
Photography: Supplied. Words: Annie Darling
Piaget’s chief executive Chabi Nouri talks e-commerce, the Middle Eastern woman and what the maison has in the pipeline
Piaget’s chief executive officer Chabi Nouri
Possession cuff watch in 18-karat rose gold, PIAGET
Shopping for luxury watches and jewellery online might have been unheard of a few years ago, but in recent months, high-end maisons are collaborating with e-commerce conglomerates to tap into a new demographic of clientele. Piaget’s chief executive officer Chabi Nouri is no stranger to the luxury industry; or jewellery and watches, for that matter. Prior to replacing predecessor Philippe Leopold-Metzger – she’s the first-ever female CEO at Piaget and currently the only female CEO in Richemont’s stable of watch and jewellery brands – she worked as Piaget’s director of marketing, communications and heritage in 2014, before embracing her role as international managing director of sales and marketing in 2016. “I think the e-commerce and digital world has been a very strong focus [for Piaget] at a very early stage,” says Chabi when we meet in her homecountry, Switzerland. “We went for it in 2012, and had our first e-commerce platform and were one of the first to go to China. We were literally the first in the industry to do so.” Interestingly for a deep-rooted maison, Chabi credits the company’s online success to a younger team. “Our teams are quite young, and can understand this digital world very well,” she explains. “Today we have 11 countries on e-commerce and we’re very proud to be the first on Net-a-Porter, too.” Piaget launched then-new additions to its Possession collection – including 18-karat white and pink gold rings, necklaces and bracelets – on Net-a-Porter in April 2017. “As the ultimate e-commerce platform for luxury,
Possession pendant in 18-karat rose gold, PIAGET
I REALLY SEE MIDDLE EASTERN WOMEN AS VERY MODERN, ENGAGED AND CURIOUS, AND ALWAYS LOOKING FOR SOMETHING THAT IS NEW. CHABI NOURI
Possession watch set in 18-karat white gold with 42 brilliant-cut diamonds, PIAGET
Net-a-Porter is the ideal partner for Piaget’s first foray outside of the maison’s own channels,” Chabi said at the time. “We are delighted to bring the Piaget Possession collection to the Net-a-Porter client as she shares many of the same values as Piaget: audacious creativity, elegant style and positive energy.” For Chabi, each client’s convenience comes first, above all else. “How can we get them connected to Piaget when they are at ease, at their homes?” She asks. “Today what we see, in my opinion, is a different way of engaging with brands.” This is largely because e-commerce has reshaped the way business is done, and Piaget are aptly tapping into the interest of today’s high-end customer, who lives in a fast-paced environment and, therefore, demands a fast-paced shopping experience. While not all clients have embraced their luxury brands moving online just yet, this will likely change if maisons like Piaget can maintain their reputation as exclusive and luxurious. “Today, we see that our purchasing behaviour has changed,” furthers Chabi. “One day, you are home in Paris, and the other day you are online – shopping online – or you go to a partner because they have more choices.” So how does Piaget hope to engage Middle Eastern women online, in particular? “I think it’s key to have a localised approach, especially in the Middle East,” explains Chabi. This is largely, she continues, because of their attitudes towards style. “I really see Middle Eastern women as very modern, engaged and curious, and always looking for something that is new.” She adds: “In the Middle East, women are bold [in their style]. I
Sunlight Escape Blazing Sky necklace, PIAGET
think it’s a form of self-expression, and that’s very nice. I love launching novelties in the Middle East.” Her thoughts about Middle Eastern women’s style isn’t dissimilar to her own tastes – born to a SwissItalian mother and Persian father, it would seem she’s inherited the region’s preferences. “I love audacious pieces,” she smiles. “That’s why I really love what Piaget has done in history, and what it is currently doing as it has a lot of artistry to it.” While traditionally gifted by men, women today are as likely to buy their own jewellery as an investment. “It’s true that women are buying pieces for themselves. It’s less of a gift and really more self-rewarding and it’s very nice to see,” agrees Chabi, before furthering: “But we have always had women buying for themselves. We are a brand that has been able to engage with both genders.” And with “more creativity” on the horizon, according to Chabi we can expect “to see new collections of jewellery that expresses the brand’s value and positive outlook” very soon.
Suzanne wears Daytona watch in rose gold, ROLEX | Fireworks necklace and bangles, SUZANNE KALAN Patile wears dress, ALEXIS | shoes, ALAĂ?A | Wave earrings and Fireworks rings, SUZANNE KALAN
KEEP IT IN THE FAMILY Words by Nicola Monteath
MOJEH WOMEN
Photography: Supplied
MOJEH examines the unique advantages and challenges associated with operating successful family-run jewellers
From top: One of a Kind rings and Evil Eye Fireworks bracelets, SUZANNE KALAN
FAMILY INHERITANCE Suzanne Kalan, 60, and Patile Kalandjian, 30, both Armenian-American, of Suzanne Kalan
Pursuing a career in the same field as your mother – the ultimate idol to a young girl – is a fantasy most daughters dream off. “When I was younger, I would find any excuse to go to her office and help in any way I possibly could. I ended up studying biochemistry in school but would still come in to help. Eventually, I became so involved that I decided to pursue a career in the family business and I have loved it ever since,” says Patile Kalandjian, daughter of Lebanese-born jewellery designer Suzanne Kalan. The journey to success was similar for Suzanne, who worked at her father’s jewellery store growing up. “I started to make fashion jewellery for my sister and myself. One day, when I was out wearing my jewellery, a store was interested in my designs and asked me to make a collection for them – that was the moment I knew my jewellery would turn into a business.” Patile describes their design aesthetic as “minimalistic, but with a twist… as if classic and modern burst into one another.” And while she can’t envision one particular woman wearing their pieces she does find that people who do like to add a bit of “spice to their classic style.” Since launching her eponymous maison, mother Suzanne says she’s seen women of all ages and backgrounds wearing her pieces. All along, it’s been a journey filled with experiences, especially from a design perspective. “It’s quicker to think of a design and then see it on a computer versus building the mould by hand, and casting the gold to get an idea of how it might look. Nowadays, the speed of how people around the world see your designs and get to know you is incredible. Facebook, Instagram and other social media networks are tools that help draw attention to you and your product instantaneously,” says Suzanne. To keep up to demand, the maison’s website is kept current, and the mother-daughter duo address enquiries immediately, even though they cater to a large Middle Eastern audience while being based in the States. “My mother and father were born in Lebanon and we have a lot of close family there, so the Middle East is in our blood. We also visit the region multiple times a year for exhibitions which also helps us understand what everyone is reacting positively to,” says Patile. “There are slight variations when it comes to understanding the Middle Eastern woman and the traditions and clothes they wear. I also visit Dubai, Bahrain, Lebanon, and other parts of the Gulf region several times a year where I interact with my customers and enjoy every minute,” Suzanne tells us. Patile’s debut collection was launched in 2012, but she already understands that hard work and perseverance are crucial to success. “I pushed and continue to push myself in every aspect. I never wanted anyone to think I hadn’t earned my position. I always had a passion for this business but never thought
I would be where I am.” This sentiment is evident in her Kalan 14K collection – based on colour and layering, this was when she was first able to infuse her personality into the brand. Patile’s latest collection is an extension of the Bloom collection that launched at Sauce Rocks earlier this year. “It was inspired by the colours and movement in my mother’s Rainbow Fireworks collection. My wardrobe consists of neutral colours, but I love adding pops of brightness with my accessories,” she tells us. As we ask about their favourite collections, MOJEH finds that Suzanne loves “the original Fireworks and scattered baguette designs. Organised chaos. I have always loved colour and after working with just diamonds, I felt it was time to add some joy to the collection.” Keep an eye out for their upcoming line – expect big, bold pieces with a focus on emeralds.
BUSINESS PROPOSAL Lana Al Kamal, 29, and Ayham Taki, 31, both Syrian, of Lana Al Kamal Jewellery
Saudi-born Syrian-national Lana Al Kamal has always admired the jewellery business because of the importance it places upon intricate detail, which was also an important part of her previous profession: architecture. But she only dove into the glamorous side of the industry after relocating to the city of Dubai. “I felt inspired and that passion came to me the minute I stepped into this artistic city. It made me realise anything is possible – I think Dubai has that effect on people,” she says. Within a few months, and with the support of her husband, Ayham, and wider family, Lana took the plunge and launched her namesake line. “I do the business planning, goal setting, and budgeting. But first and foremost, my role is to support her – whole heartedly, 100 per cent, and in every way possible,”
says Ayham. The brand came to life with Lana’s husband as its backbone. “We’re a team and having a business means we need to separate work and family time. My husband and I start our morning with Turkish coffee, and share breakfast with our beautiful daughter. When he goes to the office – his day job is in the health and beauty business – I start the daily duties, emails, meetings, and so on. But we always end the day with the three of us around the dining table sharing the details of our day,” she tells MOJEH as she describes her typical nine-to-five. When questioned about working together, Lana reveals, “as a married couple, if you manage your time and give every part of your family and work life the right balance there won’t be challenges. In fact, it made us appreciate our time together more, to understand and advise each other when it comes to business problems and stressful situations.” When Lana first began designing, she envisioned her pieces being worn by women with an understated elegance; ladies that are fueled with passion and confidence. She has since come across these women in more ways than one through her brand, especially since she took to Instagram to launch and introduce her label to the world. “As a startup, social media allows me to control my brand image and launch it to an endless possibility of customers worldwide. We can feel the huge impact of it over time with the growth of followers that helps us every day to expose the brand to new people,” she says. In addition, Lana tells us that it helps her connect with her customers by answering all their queries; she also benefits from their feedback. “It’s ideal to build a trusting relationship with your followers, so they can buy online with confidence, and know that they will get quality in terms of product and service.” Of course, jewellery has immense significance to various individuals. A piece can evoke vivid memories, be an accessory to upgrade an outfit, or an everyday item that embodies one’s personality. This is why, even in today’s fast-paced world, we prefer buying investment pieces at a shop or over a jewellery counter. “I do agree people still purchase jewellery in person, especially fine jewellery for so many reasons. First of all, they want to judge the quality of the piece, to see how it feels, appears – whether it’s heavy or light, sparkles, and so on. Secondly and most importantly, they buy in person for the price. People hesitate to buy something of high value on the internet without actually checking it out in person.” Lana’s ardent love for the field, and its connection to her former work and life experience, can be seen in this season’s collection, Leaves of Joy. Each piece stems inspiration from elements of nature such as raindrops, leaves, flower motifs, ladybugs, branches and nests. These are intricately brought to life in 18-karat gold with Zirconia stones in a palette of deep blue, aquamarine and pure white, symbolising the evolving hues of the ocean. At the moment, she is in the process of designing a new collection, while focusing on expanding to retail outlets. As for the future, Ayham says, “jewellery design is a very artistic and passionate field. I would love that for my daughter, however I am pretty sure that she will pick something that she likes. I would want her to follow her own passion, and if it is jewellery, then that will be amazing.”
Photography: Borna Ahadi. Styling: Dina Kabbani
From top: Daisy bracelet and Magnolia ring, LANA AL KAMAL JEWELLERY
Lana wears jacket and shoes, TED BAKER Ayham wears tie, SACOOR BROTHERS | shirt, HUGO BOSS | vest, DAMAT TWEEN
Photography: Borna Ahadi. Styling: Dina Kabbani
Natasha wears top, DEE BY DALIA | skirt, PRADA | shoes, Saint Laurent | jewellery, VIK JETHWANI FINE JEWELLERY Vik wears clothing, SARTOR LONDON
From top: F/W18 earrings and ring, VIK JETHWANI FINE JEWELLERY
CREATIVE COLLABORATION Natasha 36, Singaporean, and Vik Jethwani, 40, Indian, of Vik Jethwani Fine Jewellery
“Jewellery is something that has always fascinated me, and I was lucky to be able to see some of the most exquisite pieces growing up,” says Vik Jethwani, one half of the husband-and-wife duo behind Vik Jethwani Fine Jewellery. Natasha and Vik are quite the dynamic couple, with their autumn/winter 2018 collection being the talk of the town of late. Vik is the third generation of his family to work in jewellery, and it all began over 70 years ago in Kobe, Japan, where his grandparents operated a successful pearl business. “I travelled to Kobe every summer where my grandfather educated me on pearls and diamonds. Right after college I knew I wanted to be in this field, so I went to the Gemological Institute of America (GIA) where I studied indepth about pearls, diamonds and coloured stones,” he says. Considering Vik had a successful family business back in Dubai, you would think he would have jumped onboard soon after. Instead, he gained experience at the heart of the diamond district in New York. Natasha joined the company after marriage, however it wasn’t a quick transition as she studied fashion in London prior to joining him. “I had a love for unique accessories and interesting pieces. I used to spend my weekends looking for treasures at Portobello Market and Spitalfields. Until then, I had no interest in fine jewellery and found it all a bit dull and too classic for my taste,” she says. After accompanying Vik on a few work tips to international trade shows, Natasha soon realised the field was anything she wanted it to be. “There was a huge gap in the market for fun, contemporary pieces that women could wear and enjoy every day. Women either wore costume jewellery or a very classic style of fine jewellery and I really wanted to change that,” Natasha says with evident passion. Working with a significant other can either be a blessing or result in disaster. “It is something I value every day and we are lucky to be able to share the ups and downs of this journey together. To be able to create a beautiful piece of jewellery and watch a customer cherish and wear it with pride is something that both of us love,” Vik says fondly. “My weaknesses are Natasha’s strength and vice versa, so I think we complement each other really well. Every jewellery business needs a woman’s touch and to have Natasha on this journey with me is amazing.” While the family business previously only dealt with pearls, Natasha and Vik have since expanded it to offer diamonds and fine jewellery. Anyone familiar with the brand will recognise the diamond pavé techniques synonymous with Vik Jethwani Fine Jewellery. “This season we have incorporated the technique and focused a lot on colour and movement. But it’s more about the stones themselves,” says Natasha. They are set in singles or clusters, in monotones or multicolours, and are quite bold, making them perfect for winter. The Wanderlust collection is one to look forward to as well, with each piece having been inspired by the couple’s trips to India. Designs showcase a contemporary style made with traditional Indian uncut diamonds. “Uncut diamonds are a big trend in the jewellery world right now and we are so excited to be able to present them in such an easy
way for women to be able to add them to current stacks and collections,” Natasha says. The conversation turns to online shopping and the ways in which our purchasing habits have evolved. What impact has the internet and social media had on the jewellery industry? “I’m a big online shopper as it saves so much time, however I do feel the fine jewellery sector has some way to go, especially for an expensive piece of high jewellery. We find that consumers prefer to touch and physically see the piece beforehand,” Natasha reveals. A great aspect of Vik Jethwani Jewellery is that they provide a home service to all their clients based in Dubai, and they are always contactable through WhatsApp. A representative brings to your front door a selection of jewellery and a credit card machine so that you can purchase pieces on the spot. Natasha discloses that while they have sold a great number of pieces through Instagram, clients prefer physically seeing larger couture pieces. And while the duo are fans of social media, they have expressed there are downsides to sharing and posting images of their jewellery. “Brands blatantly copy designs and it’s so disheartening when you see other labels try to pass it off under their own brand.” With numerous international trunk shows planned for the year ahead, they’re ones to watch out for. And if you can’t catch them in person, remember that they are only a WhatsApp message away.
Tariq’s 1961 Rolex Oyster Precision, ROLEX
MASTERS OF
T I M E A man’s first watch is likely the first wearable object he’ll treasure for a lifetime, as revealed by these long-time collectors
Photography: Borna Ahadi. Styling: Dina Kabbani
Words by Nicola Monteath
MOJEH MEN
TARIQ MALIK German, 42, co-founder and managing partner of Momentum Dubai VINTAGE ROLEX WATCHES IN THE HIGHTariq Malik’s gusto for watch collecting began early, in the ’90s, during the boom of Swatch collecting in Europe. It wasn’t until he spotted his first timepiece, the 1961 Rolex Oyster Precision in stainless steel, 34mm with manual winding, when he made the transition from casual collecting to luxury buying. “I remember being at a watch show in Munich in 1996 where I saw this watch which was being worn by a fellow dealer. I was buying from him and pointed to this piece on his wrist. It was a personal keeper for him, but he said he would sell it to me on the condition that I would sell it back to him, if I ever decided to part with it. It was not an expensive watch at that time, nor is it today, but it was my first and will always remain in my collection.” Tariq’s journey saw him buying and selling rare and collectible Swatch models for about two years, including during his school days. But his true appreciation for watchmaking came about later, when he opened a small timepiece shop with his brother in Aachen, Germany. “I was 21 years old and still in university. That’s when I bought my first proper watch which started it all,” Tariq reveals, and he soon began to understand the beauty behind old traditional pieces that aged gracefully through time. “My heart beats for vintage watches. Watches with history, with a story. They have so much more character and even personality, does that sound crazy?” He laughs. Tariq mentions that people are often surprised he prefers vintage Rolex over Patek Philippe. He owned a few Patek Philippe models but sold them soon after as he didn’t feel the same connection, and subsequently his area of expertise lies with vintage Rolex. “That’s where I know the market, the watches and their details. Vintage Rolex watches in the high-quality range have proven to be pretty strong in retaining their value, so it becomes easy for me to combine my passion with the investment factor.” Collecting watches has gradually become an addiction to Tariq. “Every watch collector is different and has diverse preferences when collecting and buying watches. The joy of collecting can be composed of many different factors. It starts with a vision, the hunt, the examination and, finally, the purchase. Swapping watches or letting watches go is part of collecting too,” he says. Tariq says his biggest pleasure, without doubt, is interacting with like-minded people who share their knowledge and passion – he belongs to the Dubai Watch Club. Submariners, GMTs and Daytonas from the ’60s and ’80s, are some of Tariq’s favourites from his collection but, true to form, he has a sweet spot for the Rolex DayDate. “I am fortunate enough to own a very important yellow gold Rolex Day-Date. It has a possibly unique blue dial with Arabic Hindi numerals on it. I’ve never seen a second one.” Hearing Tariq’s affinity towards Rolex, it’s no surprise his favourite piece is one gifted by his wife for their wedding – a stainless steel and white gold Rolex Oysterquartz with a slate grey diamond dial.
QUALITY RANGE HAVE PROVEN TO BE PRETTY STRONG IN RETAINING THEIR VALUE. TARIQ MALIK
Tariq’s company Momentum, established in 2011, boasts the finest collection of vintage watches and accessories in the Middle East
One of Wissam’s most valued watches is his personalised Patek Philippe Calatrava Sector, gifted by his mother and wife
WATCHES ARE USED TO MARK MILESTONES IN A MAN’S LIFE.
WISSAM NAJJAR Canadian, 40, regional managing director at Omnicom Media Group Watch collecting isn’t just a hobby, it’s a lifestyle, an adrenaline-rush for watch aficionados, and one often associated with great memory. “Watches are used to mark milestones in a man’s life; they have always been traditional gifts for special occasions such as a graduation, wedding, anniversary, and the like,” says Wissam Najjar, who began collecting watches with his first cheque, after graduating from university. According to Wissam, the art of collecting watches is highly addictive, and highly contagious among certain circles of friends. “The process of acquiring a watch is incredibly thrilling. You research a model, search for it, and network among fellow enthusiasts. This is all before purchase negotiations, delivery and then finally opening
the box and enjoying the watch on your wrist. Once you have experienced it for the first time, you’ll want to have the same sensation again and again,” says Wissam. But with an overwhelming number of options saturating the market, which timepiece does one invest in? According to Wissam, “There is no doubt that a man’s first timepiece must be a Rolex. Specifically, the Submariner: the model that not only survived but thrived, regardless of any trend and era.” This model is one of the most recognisable timepieces ever, and Wissam bought his here in Dubai, at Ahmed Seddiqi & Sons. His preferred models usually represent his personality and character, and Wissam finds himself stirring towards a blue dial. “My selection is driven by age, material, sophistication, complexity, and brand. My relationship with my watches pulls me out of this fast-paced and hectic world. I enjoy those few minutes in the morning selecting the watch for the day, winding it and giving myself a morning boost.” When it comes to keeping up with trends, the watch industry isn’t as fast-paced and, rather, loops around in circles. While the renowned watch and jewellery show, Baselworld, is one that most watch collectors tune into for the latest inventions, most watch enthusiasts will tell you they follow major watch auction houses including the likes of Christie’s, Sotheby’s and Phillips. “As much as the auctions bring together several thousand enthusiasts under one roof, the pursuit of a desired watch across several steps, weeks, or even months is something that is irreplaceable,” says Wissam, revealing a coveted thrill only an avid watch collector would understand. Some of Wissam’s favourites from his arsenal are the Patek Philippe 5980 and 5711 with blue dials, and the maison’s Nautilus model, a watch that is meticulously handcrafted, stunning and proven to be a great investment. Another that holds a special place in his heart is the Calatrava Sector. “It was given to me by my mother and thenhigh school girlfriend, now wife,” reveals Wissam. “I had high aspirations for the brand, it was very trendy at the time and that was the only affordable option. My wife’s name is engraved on the bracelet and was such a great gift and memory that I will cherish forever.” As for what timepiece sits on his wish list, Wissam stays loyal to Patek Philippe, with his heart set on the Travel Time Aquanaut 5650G (limited to 500 pieces).
Photography: Borna Ahadi. Styling: Dina Kabbani
WISSAM NAJJAR
Wissam’s Rolex Oyster Perpetual Submariner, ROLEX
Adel’s Agassiz, LONGINES
HIGH-END MECHANICAL WATCHES ARE A SIGNATURE OF HIGH QUALITY, STYLE, DESIGN AND PERFORMANCE, AND NOT JUST ABOUT TELLING THE TIME. ADEL AL-ZAROUNI
Adel is waiting on a bespoke Richard Mille timepiece that’s been designed specifically for him
ADEL AL-ZAROUNI
Photography: Borna Ahadi. Styling: Dina Kabbani
Emirati, 61, managing director of Rivoli Group
For Adel Al-Zarouni, watch collecting has always been a family affair. “I was exposed to watches from a young age because the family business, besides other activities, is involved in the production and distribution of watches,” he tells MOJEH. In the summer of 1969, Adel was a 12 year old accompanying his family on a business trip to Switzerland, where his father purchased watches for their export company. “During our visit to Enicar, a historic watch brand, the owner Mr Racine presented me with an Enicar scratch-proof gold watch – my first timepiece. This was when my love affair with watches began.” It’s true when they say a timepiece reflects your character and has much to say about a person. While there are some who partake in the activity of watch collecting merely for investment purposes, there are others who can’t imagine life without this hobby that has progressed into a lifestyle. Adel believes there are two types of enthusiasts: investors and passionate collectors. “I have a passion for watches because I’ve been surrounded by them since childhood and for the last 40 years in business,” he says, and while Adel does follow watch auctions closely, he reveals he doesn’t bid. Most of his pieces are from Rivoli, and among his most prized possessions are a Longines Agassiz, a Corum Bridge gifted from his then-fiancé, and a wedding watch from a dear friend who has since passed away. ‘What’s your preferred watch type?’ is a question that gets thrown around quite often among collectors, and Adel reveals that he’s biased to mechanical watches as the production process requires artisanal and skilled workers to put the whole piece together. “High-end mechanical watches are a signature of high quality, style, design and performance, and not just about telling the time.” For any collector, there’s always that one piece they have on their mind. Adel chooses to buy whichever model he desires, but one he’s really looking forward to is a Richard Mille that has been custom-made for him. “Hopefully I will be wearing it very soon.”
Choker and earrings, CHOPARD Dress, SAINT LAURENT
INTO OBLIVION Bold stones and daring hues make for memorable moments
Photographed by Lalo + Eva Styled by Masha Mombelli
Ring, necklace and dress, LOUIS VUITTON
Earrings and necklace, CARTIER Top, ELLERY
Earrings and cuff, DE GRISOGONO Shirt, ROCHAS
Choker and earrings, CHOPARD Dress, SAINT LAURENT
Earrings, ring and jacket, DIOR
Earrings and rings, CHAUMET Shirt, VALENTINO
Choker and earrings, CHOPARD Dress, SAINT LAURENT
Ring and bracelet, BVLGARI
Earrings and ring, BOUCHERON
Earrings, CHOPARD Dress (left), SAINT LAURENT | Dress (right), GIVENCHY
Earrings and necklace, CARTIER Top, ELLERY
Earrings and cuff, DE GRISOGONO Shirt, ROCHAS
Rings and necklace, MESSIKA
Necklace, PIAGET Bag, GIVENCHY
Choker, cuff, ring and jacket, CHANEL
Earrings, CHOPARD Dress (left), SAINT LAURENT | Dress (right), GIVENCHY Models: Fanny François at Hakim Model Management and Kim Daria at Karin Models Hair and make-up artist: Sanne Schoofs Styling assistant: Christine Legrand Local production and casting: Entrée Libre Brand manager: Kelly Baldwin/MOJEH Production
THE HIGH-LOW Extreme complications meet a laid-back approach
Photographed by Chantelle Dosser Styled by Anna Klein
Watch, VAN CLEEF & ARPELS Suit, ACNE STUDIOS | Jumper, PRADA at Mr Porter | Cap, BALENCIAGA at Mr Porter
THIS PAGE: Watch, jacket, shirt and necklace, DIOR HOMME OPPOSITE PAGE: Watch, CARTIER Jumper, shirt, tie and jacket, ALEXANDER MCQUEEN
THIS PAGE: Watch, jumper, trousers and boots, HERMÈS OPPOSITE PAGE: Watch, BVLGARI Jumpers, trousers, belt and bag, GIVENCHY
Watch, jacket and shirt, DIOR HOMME
Watch, jacket, jumper and trousers, LOUIS VUITTON
THIS PAGE: Watch, TIFFANY & CO. Coat, JOSEPH at Mr Porter | Jumper, BALENCIAGA at Mr Porter OPPOSITE PAGE: Watch, PIAGET Top and shirt, DRIES VAN NOTEN
Watch, AUDEMARS PIGUET Jacket, jumper, trousers and shoes, SALVATORE FERRAGAMO
THIS PAGE: Watch, BVLGARI Top, ACNE STUDIOS | Trousers, BALENCIAGA from Mr Porter OPPOSITE PAGE: Watch, CARTIER Shirt and trousers, ACNE STUDIOS | Jacket and belt, BALENCIAGA from Mr Porter Models: Jules at M Management and Tom at Success Grooming: Andre Cueto Saveedra at Open Talent Styling assistant: Tifaine Ribouleau Brand manager: Kelly Baldwin/MOJEH Production
MOJEH discovers that the popularity of accessibly-priced jewellery, also known as demi-jewellery, is in part due to a loosening of formality
Earrings and necklace, JACQUIE AICHE
JEWELLERY TRENDS
Photography: Supplied. Words: Annie Darling
Best of Both Worlds
I BELIEVE THAT JEWELLERY SHOULD BE WORN AND ENJOYED EVERYDAY, AND BRING HAPPINESS. CATHERINE ZORAIDA
F
ounder of her own eponymous jewellery brand, Monica Vinader always said her goal was to become a Dhs238 million business by 2019. She’s since surpassed that figure, with her unaudited sales for the financial year ending July 2018 landing at an impressive Dhs205 million. The British designer has cornered the market for accessible fine jewellery, also known as demi-fine jewellery, which is a growing category in the luxury industry; so much so that Net-a-Porter launched a subsection devoted entirely to it in 2016. High jewellery, fine jewellery, costume jewellery and fashion jewellery are all categories that most of us are familiar with. While high counts as rare bespoke pieces made using the finest materials, and fine being pieces built from 18-karat gold, as well as precious and semi-precious stones, demifine hits that sweet spot in-between. How? It comes down to the price of the gold that’s being used. The preferred 18-karat pure gold championed by many designers is expensive, and so some are experimenting with gold mixtures that result in a lower weight (usually 14-karat, 10-karat, or 9-karat). The result is less expensive to make – and buy – but the jewellery still has intrinsic value and beauty, often featuring precious and semiprecious gemstones. The popularity of this accessibly-priced jewellery is, in part, due to a loosening of formality in the industry. Catherine Zoraida is a contemporary British luxury jeweller, with designs famously worn by Kate Middleton – HRH the Duchess of Cambridge. “I believe that jewellery should be
Earrings, JOANNA LAURA CONSTANTINE
worn and enjoyed everyday, and bring happiness,” Catherine tells MOJEH. “It shouldn’t just be for those special occasions.” She adds: “The Catherine Zoraida woman is always on the look out for something unique and beautifully made, playful yet elegant. Pieces she can wear everyday in her favourite jeans to easily elevate her look.” Selfgifting has been a huge driver of growth; women now buy jewellery as an accessory, in the same way as shoes or bags. “Making pieces that women feel they can buy themselves, and feel comfortable and confident wearing everyday; this has been key to my ethos,” explains Catherine, which is important with Lyst, the world’s largest fashion search platform, finding that women make a whopping 78 per cent of their women’s jewellery purchases. Historically, jewellery was positioned as something men
I LOVE GIVING WOMEN SOMETHING THAT MAKES THEM FEEL BEAUTIFUL AND EMPOWERED. JACQUIE AICHE
Earrings and necklace, JOANNA LAURA CONSTANTINE
bought for their wives as a way to express love and celebrate milestones, but an increasing number of high-rolling female shoppers are marking an enormous shift in what kinds of jewellery products are in demand. Regularly introducing fashion-forward designs and engaging with social media raises demijewellery brand awareness, with customers often acting as authentic advocates, tagging brands in their own social-media posts. “For me, it’s all about the women I adore,” says Jacquie Aiche. “It fills my heart making them feel so uniquely beautiful and welcoming them into the Jacquie Aiche tribe.” The American designer brings hippy-chic to the demifine category, with many of her pieces featuring rough-hewn gemstones and Native American turquoise relics. Diamond-drenched chains are offered alongside lashes of opals, tourmalines, and
tanzanites, which are mostly set in rustic structures. “I can’t imagine a life where I’m without my crystal cravings. I would probably be working with stones in a different way – crystal healing, maybe… I love giving women something that makes them feel beautiful and empowered. If it wasn’t jewellery, it would be something just as special.” Jacquie describes her designs as, “feminine, sensual, and free-spirited” but admits that she’s overcome hurdles associated with producing demi-fine jewellery. “There have been a few challenges, and I’m sure there will be more,” she admits, “but I surround myself with people who can make the biggest challenges feel small and easy to face. When you have strong women in your life who support you and your journey, you can accomplish anything.” These women aren’t the only jewellers to target a younger sector of jewellery buyers. Under new creative director Reed Krakoff, Tiffany & Co. has noticeably started to pay attention to a more youthful clientele, and has even appointed 20-year-old actress Elle Fanning as brand ambassador to engage what it hopes will soon be a core audience for the brand. Its delicate Paper Flowers collection certainly starts at a lower price point – Dhs11,000 – than its other suites, while De Beers has launched a range of ‘starter’ diamonds, which are priced from Dhs3,300 for a single white gold bracelet with a 0.07-carat diamond. New York-trained and Lebanon-based designer Joanna Laura Constantine is known for her expertly crafted and diverse jewellery collections. “I always
Earrings, AZZA FAHMY at Bloomingdale’s – Dubai | ring, DAVID YURMAN | necklace, NOOR FARES
wanted to be a designer, that’s why I changed my career and moved to New York to go to Parsons School of Design,” she tells MOJEH. “During my studies there and my internship at Donna Karan, I discovered my passion for accessories and jewellery design.” One of the creative’s latest collections, named Tribale, is inspired by the earth and ocean, “with a vibrant pop of colour at its centre of gravity,” she explains. “It includes necklaces, earrings, bracelets and cuffs with captivating patterns that play on symmetry to bring out the raw elegance of nature.” For Joanna, what’s special about designing demi-fine jewellery is its trend-setting ability. Not as likely to be restricted by house codes or social attitudes, there’s a freedom involved in designing pieces that are less expensive and
suited for a more playful woman. “I love designing statement pieces that are fashion-forward but can last for a long time,” Joanna says. “I also always think of the woman that will be wearing the pieces. She’s an active and modern woman that loves fashion and wants to have a distinctive style.” Having previously launched several fine jewellery collections, Joanna is looking to expand her horizons. “I am in the process of developing a new collection, called Sea and Sand, that is obviously inspired by the sea waves, sand and shells,” she tells MOJEH. “I am also developing a demi-fine jewellery collection, which will be released in the coming few months.” It would seem that demijewellery is an industry category we all should get used to, because these designers certainly argue that it’s here to stay.
Lab-grown diamonds? More industry leaders than ever say that they’re the future of jewellery design
INDUSTRY NEWS
Photography: Maciej Toporowicz/Getty.com. Words: Annie Darling
MAN-MADE
THE LAB-GROWN DIAMOND IS THE EVOLUTION OF THE DIAMOND; A GREENER, MORE EFFICIENT, MORE AFFORDABLE DIAMOND THAT BETTER REPRESENTS TODAY’S DIAMOND CONSUMER. ANNA-MIEKE ANDERSON
Lab-grown diamonds can now be marketed in the United States as real gemstones, as long as they “clearly and conspicuously convey that the product is not a mined stone,” according to the United States Federal Trade Commission. In July 2018, the organisation amended its jewellery guidelines to accommodate, “Lab-created products that have essentially the same optical, physical and chemical properties as mined diamonds.” It’s another step towards shattering the belief that lab-grown diamonds aren’t real, and it’s expected to erode the mining industry’s efforts to undermine the use of these gems in pieces. “Lab-grown diamonds provide consumers with another choice when purchasing gems,” educates Dr James Shigley, Gemological Institute of America [GIA] distinguished research fellow, before adding that the increased popularity for such items isn’t threatening the demand for traditional stones. “The market for natural coloured gems like ruby, sapphire and emerald has co-existed with laboratory-grown gems for more than a century,” he explains, “and demand for natural rubies, sapphires and emeralds remains as strong as ever.” Despite this assessment, the trade commission’s action, although limited the the United States, could have significant repercussions globally. Today, lab-grown diamonds only represent 2 per cent of the world’s diamond supply; Citibank analysts have said that is expected to reach 10 per cent by 2030. David Johnson is head of strategic communications at De Beers Group. “Natural diamonds are a rare and finite resource, and nature has limited their availability – they are all between one billion and three billion years old, and there are no more being made. As inherently rare and precious natural products, they have enduring value,” he says. “Laboratory-created diamonds, on the other hand, have a potentially limitless supply as they are products of technology – this means that, while they are still pretty and sparkly, they have a different value proposition.” Despite their benefits, for GIA, the difference is obvious. “GIA can confidently and accurately differentiate natural diamonds from laboratory-grown diamonds,” says Dr Shigley. “We have conducted research on laboratorygrown diamonds since they were first created more than 60 years ago.” David agrees. “There are differences in how natural and man-made diamonds respond to certain light. Both of these differences are picked up in the detection technology that is used to ensure laboratory-grown stones are not misrepresented as natural diamonds.” But more importantly, for David, the main differentiation is a lab-grown diamond’s rarity, not in terms of composition (many more lab-grown diamonds are type IIA – the rarest
category of diamond – than mined ones), but in terms of heritage. Each mined diamond is totally unique in terms of quality and flawlessness but with man-made, that’s not the case. “Man-made diamonds don’t offer the romance of unique, finite products of nature,” he says. “Synthetic diamonds do provide the potential for sparkle and colour at a low price, which is an interesting proposition for fashion jewellery products and something we’ve already seen with synthetic emeralds, sapphires and rubies.” Daniel Koren is founder of Dani by Daniel K, which uses simulated diamonds and gemstones, that artisans hand-set in sterling silver to exceptional standards. “The Dani by Daniel K collection not only features pure colourless simulated diamonds, but also features spinel and corundum, minerals that come in all colours of the rainbow, all developed in the best labs,” says Daniel. “Following on from the launch of my luxury brand, Daniel K in New York in 1999, in 2014 I recognised a gap in the market for more attainable jewellery,” he reveals. “In 2014, I launched my diffusion line, Dani by Daniel K.” It would become hugely popular. “By using more affordable simulated diamonds, I was able to offer an accessible line without compromising on the technical expertise and fine craftsmanship, which had made Daniel K a success. “Using the top 10 to 20 per cent of the best cubic zirconia rough, Dani by Daniel K only works with flawless simulated diamonds,” he furthers. “Hand-cut on a diamond wheel in the same way as natural diamonds.” There are practical perks, reveals Daniel, to working with lab-grown diamonds, as well. “The process of working with simulated stones is easier since we are able to cut each stone to identically match, meaning we can create pieces that are visually perfect in finish.” Anna-Mieke Anderson is a consumer-turnedphilanthropist, and is the CEO of MiaDonna and Company, which specialises in the lab-grown diamond industry. “The lab-grown diamond is the evolution of the diamond; a greener, more efficient, more affordable diamond that better represents today’s diamond consumer,” she says. “Diamond mining is extremely destructive to the environment. The process involves carving out huge craters, consequently destroying eco-systems and wild habitats. A lab-grown diamond has seven times less the environmental impact than diamonds mined from the earth,” she reveals. “Additionally, the mining industry has a long history of human and workers’ rights violations, and while there have been reforms, blood diamond conflicts between rebel groups still continue.” It would seem this, in addition to lab-grown diamonds’ flawlessness, is why they’re gaining momentum in the jewellery industry.
Diamond Secret, GRAFF
TIME Steeped in mystery, MOJEH discovers why secret timepieces are all the rage for 2019
S E C R E T W AT C H E S
Photography: Supplied. Words: Annie Darling
SECRETS OF
Diamond Punk, AUDEMARS PIGUET
E
ssentially, a secret watch is a timepiece that has a cover over the dial that can be flipped open or moved aside to reveal the dial and the watch time,” explains Katia Jundi, managing partner at JWS Abu Dhabi and Arabia Watches and Jewellery. “While early portable clocks and pocket watches utilised covers or lids to protect the timepiece, as technology advanced in the world of rugged materials, covers were no longer needed to protect watches,” she furthers. “However, the mystique attached to a covered watch – mystery, allure, beauty and the versatility for women of having a watch that looked like jewellery – gave rise to an entire incredibly intriguing world of secret or hidden watch dials.” Gem-laded wristwatches are regularly released by high jewellery maisons, but often as accents to an overall ensemble or to complement other jewellery pieces. This year, however, we’re seeing an unexpected change – incredibly embellished bracelets and other pieces concealing small quartz movements. Of course, these aren’t just ordinary watches, but not only because of their secrecy – because of their six-figure price range. “They are
easily one of the most beautiful and alluring category of women’s watches on the market,” furthers Katia. “Secret watches have roots that are centuries old. Still today, the finest watch brands continue to create these specialties, utilising artistic prowess in gemstones, diamonds, enamel work or precious metal sculpting to elevate them to an all-new level.” “In the early years of the 16th century, watchmakers in London, Paris and Geneva were competing to produce smaller and smaller watches that could be easily carried,” reveals Alexandra Kindermann, a spokesperson at Christie’s, about the origins of the secret watch. “In 1518, the King of France, François I, spent a fortune on two watches set in daggers which were hidden in the top of each dagger’s handle. These could be considered one of the first secret watches ever produced, while in 1558, Elizabeth I acceded the British throne. She is reputed to have worn a ring-watch with an ‘alarm’ – a small protrusion that would scratch her finger.” But what is it about these timepieces that makes them so popular? Alexandra argues that it’s the creation’s mystery, as well as its delicate execution. “The secret is to combine the jewel or object with the watch and to give each
Monete Pendant, BVLGARI
piece their space to breathe. In general, the watch element has been kept rather small throughout the centuries. A comparison between the diameter of the secret watch made for Francois I in 1517, to the Serpenti watch made by Bulgari in the 1960s, owned by Elizabeth Taylor, will show no difference.” “Covered watches mostly came into being in the 15th and 16th centuries,” agrees Katia, “as clocks became smaller and more portable. Often the dials were set into cases with lids so they were protected in transit. In later centuries, as portable clocks gave way to pocket watches and then to chatelaines and pendants, protection against rough daily wearand-tear such as riding horseback, weathering the elements and enduring other treacheries of life in the old days became ever more important. Thus, covers continued to be used simply as an end to a means – a very practical vein.” When asked about the secret watches that have been sold at Christie’s, Alexandra reveals that “the Bulgari Serpenti secret watch from the collection of Elizabeth Taylor is arguably the most important secret watch sold at Christie’s.” Fabrizio Buonamassa, director
of Bulgari Watches, wholeheartedly agrees. “The secret watch is part of the Bulgari heritage,” he says. “We started in 1946 with the first Serpenti secret watch. It was an expression of the brand to mix the world of watchmaking and jewellery. It is something very important for us and we will continue to develop the secret watch with different executions. Serpenti is, for sure, the most recognisable secret watch at Bulgari.” He continues to explain the difficulties associated with building a secret watch. “Complexity is indeed a major element when it comes to creating a secret watch. In fact, the creation is unique because of the mix of knowhow that takes place.” This is particularly complicated at Bulgari, largely because of the travel that’s involved during the watch’s production. “The bracelet comes from our high jewellery atelier in Italy and the watch from our facilities in Switzerland. These locations and fields entail different ways of working and it is not always easy to combine different design approaches.” “The rise of secret wristwatches to today’s luxury status, as a work of art and elegance, is due predominantly to high jewellery houses such as
Tutti Frutti, AUDEMARS PIGUET
THE RISE OF SECRET WRISTWATCHES TO TODAY’S LUXURY STATUS, AS A WORK OF ART AND ELEGANCE, IS DUE PREDOMINANTLY TO HIGH JEWELLERY HOUSES. KATIA JUNDI
Cartier, Chanel, Boucheron, Van Cleef & Arpels, Piaget, and Vacheron Constantin,” says Katia. “Today, these watch brands continue to delve eagerly into this realm, creating secret watches that offer time under cover. Cartier for instance, is particularly fond of emulating nature, and typifies its heritage in the stunning panther, realised as a wristwatch but with a head that lifts to reveal the watch.” Fabrizio reveals that Bulgari’s secret watches do very well in the UAE and surrounding region. “Middle Eastern women are very beautiful and love beautiful objects,” he says. “The secret aspect of the watch is something strongly linked with the Middle Eastern culture. The fact that you can show the watch or not – the secrecy of it can be felt more from the Middle Eastern woman.” And the Serpenti, he explains, is a cut above the rest. “It’s the pinnacle of the Bulgari high jewellery watch. It is the most sophisticated because it can be very personal. It’s up to the woman to decide whether to show it or not. It’s a private experience and a pleasure, making the watch more refined than a common watch.” And it’s an investment, too. “All vintage Serpenti
today are very hot on the auction markets and we show all our Serpenti vintage high jewellery pieces in our exhibitions around the world. It is a great opportunity for us to show to our very important clients why the brand is so unique compared to other players in the industry.” “Today, watch brands continue to view the secret watch as a high-jeweller art form in time,” says Katia. “Generally these watches are adorned in diamonds and gemstones and make an important statement of elegance.” They are also an opportunity, says Katia, to experiment with less conventional timekeeping themes and structures, particularly for women. “While many brands still embrace the concept of florals and animals, others have turned to ribbons, bows and other more modern interpretations. In fact, Breguet recently released a stunning carved cameo secret watch cover – juxtaposed to the modern Piaget unveiling not too long ago of a glimmering mother-of-pearl disc.” It would seem that the exterior, and interior, of these beautiful creations are limited only to the imagination of the jeweller him or herself.
BEYOND COMPARE Akin to works of art, high jewellery is conceptualised and handcrafted by the most skilled artisans, often featuring some of the world’s rarest and most coveted gemstones. Here’s MOJEH’s edit
Photography: Supplied. Words: Annie Darling
of this year’s best of the best...
HIGH JEWELLERY
Grand Nord necklace from the Hiver ImpĂŠrial collection set with an 8.06-carat emerald-cut diamond, onyx and black lacquer, paved with diamonds on white gold, BOUCHERON
Venice necklace from the Silk collection set with a 31.82-carat emerald, earrings set with 1.29-carat emeralds, and ring set with a 3.84-carat emerald, diamonds, jadeite and small brilliant diamonds, BOGHOSSIAN
BOGHOSSIAN A sixth generation jeweller which originates from the UNESCO heritage city of Mardin, Boghossian pays tribute to the strong tradition of craftsmen and women on the ancient Silk trade routes that have long connected the East to the West. This exquisite sub-set of jewellery, titled Venice, takes inspiration from the Silk Road’s first point-of-entry, and replicates the city’s distinctive Byzantine-styled architecture and arabesque elegance with lashings of emerald, mother-of-pearl and diamond.
Lierre de Paris mismatched earrings from the Nature Triomphante collection set with diamonds on white gold, and ring set with a rock crystal dome and mother-of-pearl, BOUCHERON
BOUCHERON A tribute to the breathtaking beauty and incredible delicacy of nature at its most splendid, Boucheron’s innovative and free-spirited Nature Triomphante collection boasts stunning audacity and unique craftsmanship. Separated into three chapters: Boucheron Naturaliste; Boucheron Surrealiste; and Boucheron Alchimiste, together the extraordinary line pays homage to the maison’s archives, reinterpreting many of its classic creations, all the while pushing boundaries and house codes. Expect plenty of character through full-bodied flora, fauna and mineral motifs.
Future necklace from the Wild Pop collection set with a 36.41-carat oval rubellite and 19.13-carat citrine quartz and rings set with pavé diamonds, BVLGARI
BVLGARI Vibrant colour combinations and daring dimensions make Bulgari’s mischievous Wild Pop high jewellery collection one of the most extravagant from this year’s unveilings. Inspired by the riotous Eighties, each wild and wacky jewellery piece takes inspiration from the late-20th century’s cultural revolution. The Space Crusader designs are especially eye-catching, thanks to their kaleidoscopic colour and voluptuous structures, which beautifully evoke the curious spirit of Bulgari’s contemporary woman.
Chromaphonia necklace from the Coloratura collection set with two baroque emerald beads from Afghanistan totalling 199.02 carats, earrings set with two emeralds totalling 10.87 carats and Holika ring set with a 15.05-carat rubellite, CARTIER
CARTIER A sensory exploration of colour and culture, Cartier’s Coloratura collection seamlessly blends the past with the present. The series includes individual necklaces as well as complete suites of jewellery drenched in complementary shades of green, purple and black. The maison is well-known to be a purveyor of fine stones, so it comes as little surprise that the classic-meets-contemporary line features unusual geometic shapes that have been assembled using layers of opals, tourmaline and diamonds.
Horizon Lointain necklace from the Coromandel collection set with a 6-carat central diamond, earrings and bracelet set with gold, platinum and diamonds, CHANEL
CHANEL Think back to Chanel’s Mademoiselle Privé jewellery-watch collection in 2012. A handful of jewels offered a taste of this year’s dramatic Coromandel collection, with a small selection featuring semi-figurative floral-smothered landscapes. This year, however, pieces are far more theatrical. Cuffs in white gold clash against black spinets and tsavorite garnets, while yellow sapphires battle with white diamonds for centerstage. Truly spectacular, the collection is remarkable in its elegance, as well as its decorative inspiration.
Talismania ring, CHAUMET
CHAUMET Comprised of three chapters, Chaumet’s otherworldly Trésors d’Afrique pushes the boundaries of creativity through African-inspired narratives. Naturalistic themes aren’t new to this historic maison, but this year’s contemporary extravagance is. A compendium of colour, material and texture, red spinels, emeralds and mandarin garnets feature heavily throughout the collection, as do black spinels and rhodium-plated gold. Bejewelled sculptures that evoke lush scenes of Africa at its most ornate offer unique combinations that are as unconventional as they are spectacular.
Ronde de Pierres bracelet, CHAUMET
Flamingo brooch, CHAUMET
GRAFF Yellow diamonds are fully embraced at Graff with a flurry of vivid diamond-mottled pieces that are cut and polished to absolute perfection. For over half a century, the illustrious maison has operated at the very pinnacle of the high jewellery industry, and this year it has chosen to explore the full spectrum of sunshine yellow, from paler shades to the boldest colour possible. The result is wide-ranging, with enough honeyed hues to satisfy the most vivacious personality.
Necklace set with 133.63 carats of yellow and white diamonds and Star of Bombay ring, GRAFF
Ring set with a 14.18-carat white diamond and 52 fancy-cut emeralds weighing a total of 36.51 carats, DE GRISOGONO
Earrings set with 28 pear-shaped emeralds weighing a total of 27.25 carats, DE GRISOGONO
DE GRISOGONO Original cuts and countless combinations are what make De Grisogono a high jewellery maison like no other. This world-famous jeweller designs some of the most striking and unimaginable creations around, and through volume and movement, has mastered the art of ultimate luxury through ever-evolving and seductive surprises.
Green Borealis necklace from the Sunlight Escape collection set with a 7.50-carat emerald, ring set with brilliant-cut diamonds, and Infinite Sunlight earrings in 18-karat white gold, PIAGET
PIAGET Light in its purest form is celebrated with Piaget’s Sunlight Escape collection, which boasts numerous extravagant pieces that feature exceptionally-cut gemstones that dazzle with the slightest movement, so as to evoke jaw-dropping scenes of sunlight reflecting off peaks in snow-smothered Switzerland. Sri Lankan sapphires, Paraiba tourmalines and African spinels are among the exotic stones that set this firey line alight.
Dentelle Popeline Grenat Spessartite bracelet from the Dior Dior Dior collection set with pink sapphires and rubies, earrings set with spessartite garnets and Dentelle Satin Émeraude ring set with diamonds and emeralds, DIOR
DIOR Victoire de Castellane, creative director of Dior Joiallerie, has once again turned heads with the release of her latest high jewellery medley, Dior Dior Dior. Whimsical flourishes, intricate lacework and miniature petals form dynamic and decadent pieces that hark back to Christian Dior’s silk-drenched Parisian atelier. Cocktail rings finished with hot-pink sapphires and kite-cut diamonds, as well as mismatched cuffs that meander around ears, add an edgy take on an otherwise heritage-fuelled collection that embraces all things Monsieur Dior.
High jewellery necklace, DE GRISOGONO
SEISMIC S H I F T S
I
n the words of De Grisogono: “High jewellery is the magical kingdom of superlative jewellery and exceptional stones.” It’s a world filled with magic and imagination, where skilled artisans collate their passion and bring together various trades and abilities to create bespoke, one-of-a-kind pieces that are capable of stirring emotion and spirit in the most ordinary, and extraordinary, way. After all, in the olden days high jewellery had a meaning beyond its extraordinary shape and colour. For the elite, for instance, it was a tangible representation of status and wealth – a way for them to carry their valuables in a wearable and convenient way. The imprint of a ring pressed into a soft dab of melted wax which would form a seal – a unique signature, known only by that person and his or her confidants. Today’s high jewellery, thankfully, continues to maintain intense meaning, while showcasing incredible ability, but in an era dominated by the Internet and all things technology-related, will this mythical category of jewellery have to evolve with the times? The tradition of haute joaillerie is firmly rooted in
Geneva, Switzerland, and goes back to the dawn of the Renaissance. Swiss goldsmiths were renowned throughout Europe, before even the first jewellers were established on Paris’ desirable Place Vendôme. Perpetuated from generation to generation, unique craftsmanship and know-how was inherited by various maisons and their workers, as demonstrated in this year’s high jewellery collection by De Grisogono. Within each breathtakingly beautiful piece, the brand’s artisans take each initial design idea and transcends them, by transforming each concept into a glistening reality – the result, of course, is nothing short of ethereal, as well as timeless. But the development process for such intricate pieces takes time. The question is: How long are modernday customers going to be willing to wait for months, or even years, for a specific piece of wearable art to become available? Needless to say, technology has advanced over the years by leaps and bounds, marking its presence into the everyday aspects of our lives, including our jewellery purchases. This technology can
MOJEH JEWELLERY
Photography: Karim Sadli/Hermès. Supplied
Modern technology is transforming industries, and high jewellery production is no exception
Hermès Fusion necklace, HERMÈS
Trésors d’Afrique necklace, rings and earrings, CHAUMET
Joséphine Aigrette ring and earrings, CHAUMET
HIGH JEWELLERY IS THE MAGICAL KINGDOM OF SUPERLATIVE JEWELLERY AND EXCEPTIONAL STONES. DE GRISOGONO
break boundaries; three-dimensional printing, for example, allows for the experimentation of more intricate structures, while augmented reality brings new excitement to a client’s purchasing experience. More than ever, online tools allow consumers to easily customise what they are looking for, which in turn helps craftsmen and women not only showcase their creations, but enhance the overall experience for their clientele, which leads to greater loyalty and retention. However for most high jewellery maisons, including the House of Chopard, staying true to the brand’s traditional production techniques is still of the utmost importance. It’s difficult to imagine that without the labour of love artisans individually put into every single splendid piece of high jewellery, a creation will retain its absolute refinement one comes to expect. As such, many brands continue to refrain from experimenting with the latest technological advancements. For 2018, Chopard’s one-of-a-kind pieces pay tribute to the elusive light and colours of the seasons, as well as the emotions they conjure. “Inside the Chopard haute joaillerie workshops, just as in the natural world beyond it, enchantment is above all a matter of light,” the maison states. “The fairytale radiance of the snow when it shrouds the landscape, the finely gilded glow of an endless summer. The craft masters of the Geneva-based company masterfully reinvent and magnify every beam of luminous magic in crafting unique haute joaillerie creations.” The maison goes on to confirm that as part of its ethos and dedication to excellence, “everything begins with a story of hands: those of the expert, patient
and inventive artisans within the manufacture who successively apply their skills to these exceptional creations.” So as to preserve the jeweller’s heritage, Chopard co-president and artistic director Caroline Scheufele ensures that the maison’s artistic crafts are exercised at the very highest level and in its purest form – without the use of additional technology. Lost-wax carvers and casters, jewellers, lapidaries, gemsetters and polishers work with their hands to create pieces so that every stage of the design process is nourished to its most absolute. The work is certainly reflected in the collection, as is also the case with Pierre Hardy’s latest Hermès’ collection, Enchaînements Libres, which came to life in front of the Paris couture week crowd in 2018, during a mesmerising show choreographed by Christian Rizzo. Gradually a line of ballerinas, dressed in black wearing the jewels, joined the stage forming a human chain. Because what is easy to forget is that haute joaillerie goes beyond the ordinary; it is closer to an art form. Using the world’s finest gems and precious stones, secret watches and exceptional objet d’art are painstakingly assembled with the utmost care. And despite the modern conveniences of technology, the idea of disrupting traditional ideas either technically or creatively seems almost criminal. Because beyond magnifying the beauty of jewellery at its most pure, the overall harmony and movement of a high jewellery piece can only be achieved by the experience and skill of an expert craftsman who, with every moment, imparts his or her years of experience and eye for detail into the overall design.
Contemporary design embraces exceptional mechanical skill in the Millenary collection, AUDEMARS PIGUET
A FIRM F O U N D AT I O N
We speak to Audemars Piguet’s Chadi Nouri to discover how the company’s
Photography: Supplied. Words: Annie Darling
shaping the face of time
M O J E H W AT C H E S
Heritage pieces from Audemars Piguet’s archives
AUDEMARS PIGUET HAS BEEN MAKING WATCHES FOR WOMEN SINCE OUR VERY BEGINNING. CHADI NOURI
T
he Audemars Piguet Foundation has been contributing to the cause of worldwide forest conservation through environmental protection for decades. Jasmine Audemars, daughter of Jacques-Louis Audemars who established the foundation in 1992, chairs its board and has become personally invested in the protection of the environment, having grown up in Le Brassus and Switzerland’s Vallée de Joux – the cradle of both fine watchmaking and her family maison. However, it would be wrong to assume that Jasmine is the only leading lady behind the success of Audemars Piguet. Key industry player Chadi Nouri has headed up the company’s product development since 2016, having been inspired by the maison’s success in pioneering female products for an industry that’s historically been dominated by men. “It is true that men still mainly populate the industry of watchmaking,” she admits when asked what it’s like working in a male-dominated field. “However, I don’t think that women face different challenges to our male colleagues. Hard work, passion, vision and strong interpersonal skills are all that’s needed,” she insists, when asked how to succeed in the watchmaking industry. As for the timepieces themselves, Chadi argues that women’s appreciation for high-quality pieces aren’t that different, either. “Like men, women are also interested in several sorts of watches, from ‘fashion’ timepieces to complicated mechanical watches. Pieces need to reflect the personality of the owner, this is what’s most important,” she insists. “It must appeal to a person’s curiosity and trigger emotion.” The brand’s latest version of the Royal Oak in frosted yellow gold, limited to 300 pieces, does just that. Made in partnership with Florentine jeweller Carolina Bucci, the first model was unveiled in 2016, and immediately turned heads because of its exquisite frosted case and bracelet, which looks as though it’s been dipped in what Audemars Piguet calls, ‘diamond dust’. Its sparkling surface is achieved using the ‘Florentine Finish’, a signature technique Carolina has championed over the years, which involves
“We have been crafting complicated watches for women for over 130 years,” says Chadi Nouri
striking the watch repeatedly with a diamondtipped tool. 2018’s version measures 37mm and features a mirror on the dial which reflects the environment in which it’s worn. It’s a privilege, says Chadi, to work with a maison that spearheads the development of such innovative female timepieces. “We have been crafting complicated watches for women for over 130 years,” she says of Audemars Piguet. “However, women’s interest in mechanical watches is on the rise.” With more and more women self-purchasing high-end jewellery and watch products, it’s only natural that the maison has received an increased interest in the brand’s in-house movements by ladies. “Complications are being better understood and sought-after. It is our job to keep informing our clients about the complexity and the amazing knowledge that goes into the development and construction of a complicated mechanical watch,” explains
Chadi. “Up until now, we maybe haven’t been talking the right language to women, to appeal to this side of their personality. Women love jewellery, they understand it. With jewellery, you just need to talk about the material and the stone. There are a lot of stories you can tell about stones. We need to tell similar stories with watches as well, to appeal to their interests.” At the end of the day, engaging women watch enthusiasts and encouraging their interest in timepieces is Chadi’s most rewarding responsibility. “Our clients are always at the centre of all our concerns,” she explains to MOJEH. “Our watches should be adapted to our clients’ needs and interests. At Audemars Piguet, we aim to produce objects that are beautiful both inside and out. For example, the Millenary collection that we decided to dedicate to women was developed with a dedicated back-to-front movement, which took us five years to accomplish. The movement
Millenary watch, AUDEMARS PIGUET
was specifically designed to be cased in a reversed format, highlighting the mechanism. When looked at from the dial side, the movement is impeccably tailored to the oval shape of the case, which is ergonomic and sits perfectly on the wrist.” So what are the hallmarks of a perfect women’s wristwatch? “They should fit on every woman’s wrist and adorn any type of clothing – be it a cocktail dress, a pair of jeans or simply a crop-top,” answers Chadi. And her favourite Audemars Piguet piece? “This year’s new Millenary Frosted Gold Opal Dial watch,” she answers without hesitation. “For many cultures, the opal is a lucky charm. It is also a fragile stone, exceptionally challenging to work with. The cut and polished opals used in our new Millenary are chosen with extreme care.” As has always been the case. “Audemars Piguet has been making watches for women since our very beginning,” Chadi says. “The N°31 model
was actually a minute repeater for women and we made the first women’s wristwatches in the 1900s.” She explains the need for the N°31 in further detail. “We made the female minute repeater because we wanted to make smaller versions of pocket watches, smaller than the ones that already existed for men. During this time, we mastered complications and miniaturisation, and it’s thanks to this that we were able to make the first complication for watches and wristwatches.” An incredible feat in the history of watchmaking, and one which continues to inspire Audemars Piguet’s women. “Our products are contemporary, bold and timeless,” she says of the maison’s current pieces. “We do our best to stay ahead of competition by presenting designs that don’t follow what others are doing. We set our own trends rather than following them, and the design codes of our lines are so clear-cut that our watches are instantly recognisable from afar.”
W H AT
SHE’S WEARING
So much more than a timepiece, these models are the best women’s watches for the most style-savvy
Photography: Anthony Arquier/MOJEH Jewellery & Watches Issue 3. Words: Annie Darling
timekeeping enthusiasts
M O J E H W AT C H E S
Royal Oak Concept Flying Tourbillon, AUDEMARS PIGUET
AUDEMARS PIGUET The first flying tourbillon made for women by Audemars Piguet, the bewitching Royal Oak Concept Flying Tourbillon comes in two highly desirable versions: one with baguette-cut diamonds; and one with brilliant-cut diamonds. The epitome of mechanical jewellery timepieces, an intricate openworked dial reveals the model’s exquisite movement, which is housed in a breathtakingly beautiful 18-karat white gold case. A true showstopper if there ever was one.
Midnight Planétarium, VAN CLEEF & ARPELS
VAN CLEEF & ARPELS Intricate mechanisms have always been a part of Van Cleef & Arpel’s timekeeping repertoire, and the latest Midnight Planétarium watch is no exception. The model’s debut was first made in 2014, and elegantly depicts the universe as well as its planets. An aventurine dial reproduces the Sun in miniature, together with the five planets visible to the naked eye from Earth: Mercury, Venus, Mars, Jupiter and Saturn. As if that weren’t enough, an exclusive module enables each planet to move on its own disc according to its real-life rotation time.
The Empress, CHOPARD
CHOPARD The House of Chopard has unveiled its latest edition to the Empress Box, a diamond-drenched capsule collection built around the maison’s iconic ‘Imperial’ motif. Inspired by Byzance and the magic of the East, particularly Russia, this objet d’art dazzles with artistry and technical expertise that personifies contemporary elegance as well as old-world majesty. Featuring ‘Grand Feu’ enamelling, a 17th-century technique which is one of the most difficult to master, it’s truly a timepiece that’s fit for royalty.
From left: Grand Bal Pièce Unique Galaxie Draco and Grand Bal Pièce Unique Galaxie Monoceros DIOR
DIOR “The ball gown makes you dream and must make you a dream woman,” Christian Dior famously said about his most luxurious dresses. His haute couture collections, the first of which was showcased in 1947, revolutionised fashion, and the maison’s opulent timepieces from the Dior Grand Bal collection are set to do the same for watches and jewellery. Incredibly delicate, this year’s additions to the collection are beautifully constructed using gold thread, net, feathers, and silk among other refined materials, which result in a whirlwind of colour that’s mesmeric.
Oyster Perpetual Day-Date, ROLEX
ROLEX Gem-setters have painstakingly carved the precious metal to hand-shape the seat in which each gemstone sits in this decadent diamond-paved dial by Rolex, while the maison’s iconic ‘President’ bracelet is offered in either solid gold or platinum with a new-generation concealed Crownclasp. Complete with scratchresistant sapphire and certified as a Superlative Chronometre, the precision of every movement is guaranteed. Self-winding mechanical movements entirely developed and manufactured by Rolex further secures the model’s reliability.
Limelight Gala, PIAGET
PIAGET Inspired by the Swinging Sixties, Limelight Gala is an ultra-feminine collection by Piaget that embodies the rebellious attitudes of strong-minded women. By harnessing the glamour and excitement of this memorable era, the Limelight Gala watch is a curvaceous and sensual piece, seen here with a soft white satin strap, finished with an 18-karat pink gold diamond-set ardillon buckle. The piece’s silvered dial boasts pink gold Roman numerals, which protect the Piaget 59P quartz movement within.
RM 71-01 Automatic Tourbillon Talisman, RICHARD MILLE
With a skeletonised baseplate and bridges, alongside microblasted grade five titanium with physical vapour deposition [PVD] treatment that gives the overall structure ridigity, Richard Mille’s RM71-01 Automatic Tourbillon Talisman is a force to be reckoned with. And yet it’s undeniably charming, with a dial hand-set with motherof-pearl, onyx and diamonds. Satin-finished surfaces and hand-polished stepped bevelling serve to add to the creation’s overall delicacy.
Photography: Philippe Louzon/Richard Mille
RICHARD MILLE
From left: Première Rock and Mademoiselle Privé Camélia Skeleton, CHANEL
CHANEL Chanel has certainly proved its expertise in haute horology, especially with the launch of its first in-hour movement: Calibre 1, which was encased in the maison’s first men’s watch Monsieur de Chanel. This year, two new models caught our eye: The Mademoiselle Privé Camélia Skeleton in 18-karat white gold set with 60 brilliant-cut diamonds; and the Première Rock with triple row steel bracelet interwoven with black leather. The latter boasts a high precision quartz movement that’s not to be sniffed at.
Lvcea Skeleton, BVLGARI
BVLGARI Always in tune with what women want, Bulgari has conceptualised the Lvcea Skeleton, which introduces a new complication into the maison’s well-versed and appreciated Lvcea line. Designed for true watch enthusiasts, it reveals a complicated automatic winding BVL 191 skeleton movement, handcrafted in-house by Bulgari in Switzerland. Three models are available in steel and 18-karat rose gold, each set with a pink cabochon-cut stone and a brilliant-cut diamond.
Château de Môtiers 40 ‘Eurytides Marcellus’, BOVET 1822
Photography: Marc Gysin/Bovet 1822
BOVET 1822 The Château de Môtiers 40 ‘Eurytides Marcellus’ timepiece is the second luminous butterfly watch to be presented by the illustrious artisan, Bovet 1822. For almost two centuries, miniature paintings have adorned the dials of Bovet’s watches, and the Château de Môtiers 40 collection confirms its reputation as a pioneer in the applied arts. A mother-of-pearl dial features a breathtaking butterfly, framed in a 40mm 18-karat red gold case with an alligator strap.
W H AT
HE’S WEARING
MOJEH’s horology experts showcase the best men’s watches that the most popular brands in existence
M O J E H W AT C H E S
Photography: Laura Marie Cieplik/MOJEH Jewellery & Watches Issue 3. Words: Annie Darling
will put a masculine spin on any ensemble, featuring
Sultan Qaboos Grand Mosque, LOUIS MOINET
LOUIS MOINET To cater specifically to the refined tastes of the Middle Eastern man, Louis Moinet has produced a set of five watches, each a unique piece, to celebrate the Arab World and its most awe-inspiring Mosques. The Sultan Qaboos Grand Mosque watch from the line, aptly named the Islamic collection, pays tribute to Oman’s most prominent place of worship, which was built by Sultan Qaboos bin Said Al Said over six years, before being inaugurated in 2001. The timepiece’s white gold case has been set with 56 baguette-cut diamonds, that have been carefully collated to reflect the Mosque’s superb lighting.
Split Escapement, MB&F
MB&F Part of the maison’s well-known Legacy Machine collection, the Split Escapement may be a modest-looking timepiece, but its balance beats just under the dial-side of the dome of sapphire crystal. Meanwhile its impulse jewel, anchor and escape wheel are visible through the transparent caseback, requiring an unusually long balance arbour which is needed to enable the unique structure – it’s a true milestone for micro-mechanical craftsmanship. The burnished surface is also a feat of engineering, having been handworked with a wire brush to create tiny indentations in the dial.
Triple Split, A. LANGE & SÖHNE
A. LANGE & SÖHNE The Triple Split – which comes in a limited edition of 100 pieces – is the first mechanical split-seconds chronograph in the world, allowing for multi-hour comparative time measurements, inspired by German triathlete Jan Frodeno who achieved a new world record for the triathlon long distance. The wristwatch is also endowed with a flyback function that involves all three hand pairs, so the chronograph can be reset and instantly restarted. A grey dial in solid silver sophisticatedly complements its 18-karat white gold 43.2mm case, taking precision watchmaking one step further.
Polaris Chronograph WT, JAEGER-LECOULTRE
Photography: Denis Hayoun/Jaeger-LeCoultre
JAEGER-LECOULTRE World time watches can be difficult to read, which is why Jaeger-LeCoultre has unveiled an in-house chronograph of 44mm, complete with a useful world time complication, making it ideal for those bitten by the travel-bug. Two chronograph pushers are joined by an additional crown at 10 o’clock which controls the rotating city disk, allowing the globetrotting wearer to immediately see the time in 23 other cities around the world – all the while, neatly housed in a 13mm thick titanium case.
H20 Black Fluid Cobra, HYT
HYT The original ‘hydromechanical’ watch, called the HYT H1, was first released by HYT back in 2012, and in the years since we’ve seen an impressive roster of updates, improvements and innovations on the boundary-breaking concept of wearing liquid in one’s timepiece. This year, the brand’s H20 model pushes the technique even further. Offered in two different 51mm cases with two differentcoloured fluids – green and blue – the creations are mounted on black rubber straps with folding buckles made from physical vapour deposition [PVD]-coated steel.
Kalpagraphe Chronomètre, PARMIGIANI FLEURIER
PARMIGIANI FLEURIER The Kalpa watch has been an iconic timepiece for Parmigiani Fleurier since its creation in 2001. Revamped for 2018, the Kalpagraphe Chronomètre is fitted with a brand-new distinctively-shaped movement, the calibre PF362, all while maintaining the highquality craftsmanship the brand has become renowned for. Entirely developed and manufactured in-house over a period of six years, this calibre works at a frequency of 36,000 vibrations per hour and demonstrates an accuracy of one tenth of a second. But fear not, the original model’s hallmark features – including its tonneau case, teardrop lugs and Delta-shaped hands – remain intact.
Métiers d’Art Les Aérostiers - Paris 1783, VACHERON CONSTANTIN
VACHERON CONSTANTIN Master engravers at Vacheron Constantin have added volume to original two-dimensional drawings especially for the Métiers d’Art Les Aérostiers collection. Every intricate timepiece showcases a theatric hot-air balloon, with each taking up to three weeks of craftsmanship to produce. Subtle features and ornamental details elevate these authentic miniature scenes, in addition to a semi-transparent plique-à-jour enamel that offers a glimpse into the timepiece’s gear trains and discs of calibre 2460 G4/1.
Monaco Bamford Limited Edition, TAG HEUER
TAG HEUER In the first collaboration with the Bamford Watch Department [BWD], Tag Heuer unveils the Monaco Bamford, which is limited to only 500 precious pieces. Featuring the traditional Monaco’s signature square case, full black dial and aqua blue chronograph counters, this flagship piece has been reinvented by George Bamford, chief executive officer of BWD, who is world-famous for his customisation of luxury watches. With this 39mm creation, a wearer is embracing both the contemporary and the classic, all of which is only made possible by Tag Heuer’s forward-thinking philosophy.
Reference 5531 World Time Minute Repeater, PATEK PHILIPPE
PATEK PHILIPPE A micromechanical masterpiece, Patek Philippe’s Reference 5531 World Time Minute Repeater is remarkable for more than its handsome elegance. A rose gold case is adorned with a hand-guilloched hobnail pattern, and its dial centre in cloisonné enamel depicting the Lavaux vineyards that border Switzerland’s Lake Geneva. The model’s mechanical self-winding movement, calibre R 27 HU is humidity and dust protected, and worn with a hand-stitched alligator strap with square scales.
Excalibur Skeleton Double Flying Tourbillon, ROGER DUBUIS
ROGER DUBUIS
Photography: Denis Hayoun/Roger Dubuis
The perfect match between technology and aesthetics, the Excalibur Skeleton Double Flying Tourbillon is a seamlessly sophisticated 18-karat pink gold 45mm wrist watch, complete with a strap made of boxing glove leather. The special edition, limited to just eight pieces, has been crafted to celebrate professional boxer Canelo Ă lvarez and mark his rematch against Gennady Golovkin. The timepiece is dressed with the colours of Canelo: black and gold, and boasts a skeleton double flying tourbillion, which is one of the most sought-after complications in the world of haute horlogerie.
FINDERS K E E P E R S
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here is an increasing awareness about the issue of stolen watches,” says Katya Hills, client development manager and managing director of the Watch Register. “Largely due to reports in the press of smash-and-grabs from stores, and thefts from celebrities in the street or from their homes.” The increased targeting of luxury watches by street robbers has led to a significant rise in the number of stolen timepieces being registered with crime prevention databases. In London alone, more than Dhs4 million of watches have been stolen in the first quarter of this year, which has led to a rush of owners using the Watch Register in a bid to trace their treasured timepiece. “Luxury watches are quickly becoming one of the most highly sought-after goods by criminals, including opportunist thieves and organised criminal gangs who operate worldwide,” reveals Katya. “Due to their high value, portability and popular ownership, watches have become a currency for criminals.” And those in the public eye are the most likely targets. “The homes of high-profile footballers are frequently broken into while they are away for matches. Their expensive possessions,
public profile and movements, and poor levels of security, make them particularly easy to steal from.” Over 10,000 stolen watches were registered on the Watch Register database in the last year alone, says Katya. “These watches came not only from recent thefts, but also from historic thefts that people have come forward now to declare.” The Watch Register, an offshoot of the Arts Loss Register [ALR] – set up in 1990 to locate stolen works of art – allows buyers and dealers to check whether a timepiece that’s being sold has been stolen. It also allows police, insurers, and owners to search for stolen watches being auctioned off elsewhere. “Rolex watches are the most sought after by thieves,” says Katya. “They constitute one third of the 70,000 watches on the Watch Register, which is the world’s largest database of lost and stolen watches.” Many collectors, she says, don’t always understand how far-reaching robberies can go. “Watch theft is an international problem, as watches are easily portable and thieves are willing to travel to commit crimes. Stolen watches are often located by the Watch Register in a different country to the one in which they have been stolen, and over time they
W AT C H C O L L E C T I N G
Photography: Andreas Schlegel/Getty.com
Increased targeting of luxury watches by street robbers has led to a significant rise in the number of stolen timepieces
LUXURY WATCHES ARE QUICKLY BECOMING ONE OF THE MOST HIGHLY SOUGHT-AFTER GOODS BY CRIMINALS. KATYAÂ HILLS
can travel across the globe as they are frequently sold internationally.” In June 2016, the ALR identified a stolen Patek Philippe model in a sale in New York, only two years after its theft in Naples. The watch had been registered by the insurer, and had belonged to a Swiss collector from whom it was stolen while he was on holiday in Naples. According to ALR, the owner described the theft, “like a scene from a movie,” adding that the watch was “ripped off his arm as he walked through the town centre one evening.” Thankfully it’s not all doom and gloom – there has also been a significant increase in the number of stolen watches recovered as of late, with brands such as Omega, Tag Heuer, Breitling and Cartier found and returned to their rightful owners. “Watches are easy to identify thanks to their unique serial number,” reminds Katya, “however, our ability to locate and recover the maximum number of stolen watches is impeded
by individuals or insurers not reporting their losses, or by not keeping a record of their serial number which allows their watch to be identified. “Another difficulty involving the location of stolen watches is the speed with which they are sold on.” Timepieces are often re-sold very quickly after the theft, within a matter of days. “This means that a stolen watch is often sold onto an unsuspecting buyer before the loss can be reported to the police or insurer. As a result, buyers who are acting in good faith can fall victim to stolen watches, which can result in potential financial loss and damage of reputation.” For both seasoned collectors and one-off purchasers buying second-hand, this is a serious risk. Unlike new, factory-fresh models, pre-owned timepieces should always been sold with provenance. “The Watch Register locates most stolen watches at the point that they are offered for sale on the secondary market. This is because the dealer,
It’s not a topic watch collectors like to discuss, but many timepiece enthusiasts know someone who has had a treasured piece stolen
Marie Antoinette’s pocket watch dated 1747-1823, BREGUET
pawnbroker, auction house or collector selling or buying a watch checks its unique serial number against the Watch Register database. When we identify a match, we ask the person searching the watch against our database to hold it securely, so that it can be seized by police and then returned.” In some cases, watches resurface having been lost for several decades. “Without doubt the most famous watch ever stolen and recovered is the Breguet Marie Antoinette Grande Complication pocket watch. The priceless timepiece was stolen in 1983 from a museum in Jerusalem along with 39 other timepieces, and was recovered a quarter of a century later in 2007.” In 1783, a mysterious fan of the French queen commissioned Abraham-Louis Breguet to make her a watch, which was only completed 44 years after the order was placed. By then, Marie Antoinette had been dead for 34 years, and Abraham-Louis had
also passed away four years previously. Packed with 823 parts and 23 complications, the watch is still one of the most complex ever created. To commemorate its craftsmanship, Breguet was due to unveil a replica, when the widow of the thief revealed the location of the original: It was tucked away in a Tel-Aviv apartment. Sadly not all of Katya’s endings finish with a happily ever after. “The Omega Speedmaster worn by Buzz Aldrin in 1969, which is the first watch to ever be worn on the moon, has been missing ever since it was sent to the Smithsonian Museum in Washington to be displayed.” In case you’ve seen it, the case back of this particular Omega Speedmaster reads, “The first watch worn on the moon,” but no one knows where it is, proving that despite the benefits of online services specialising in locating lost or stolen watches, some timepieces are destined never to be found.
GLOBAL D O M I NAT I O N
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rowth in the global jewellery market is being fuelled by the shift to e-commerce. Online fashion jewellery sales are projected to capture 15 per cent of the market by 2020, according to Connecting Dots, and the online jewellery market is experiencing tremendous growth, particularly in Asia. As global luxury e-commerce approaches a tipping point, McKinsey & Company expects the luxury category’s share of online sales to double, from 6 per cent to 12 per cent by 2020, and for 18 per cent of luxury sales to be made online by 2025. That would make online luxury sales worth about Dhs290 billion annually. According to McKinsey, this would make “e-commerce the world’s third-largest luxury market, after China and the United States.” And this growth has resulted in established jewellery retailers scrambling to get online while digitallysavvy newcomers flood into the space. The sheer logistics of moving high-value inventory around the world within acceptable e-commerce time frames have been a significant barrier to advancements online for high-end watch and jewellery brands thus far, however key industry players such as Net-a-Porter, which launched its online jewellery and watch suite in 2018, are breaking boundaries by overcoming the industry’s previously dysfunctional relationship with the online marketplace. Elizabeth von der Goltz is global head of buying at Neta-Porter. “After having launched some big-name brands such as Buccellati, IWC, Piaget, Chopard, Jaeger LeCoultre to name a few, plus our ever-growing assortment of fine jewellery brands, we knew this was the perfect time to showcase Net-a-Porter as the destination to shop for fine jewellery and watches, especially as many of these brands do not have their own online platforms and have limited online distribution,” she says about the recent launch. “We have such a large and engaged audience from across the globe and our customers are incredibly loyal. Almost all of our jewellery-obsessed customers revisit the suite on a weekly basis, showing us that they are very comfortable shopping with us for high-end pieces regularly,” she continues. In 2017, luxury jewellery and watch brand Piaget launched its Possession collection on Net-a-Porter – it was the first time the creations by the Swiss firm were sold through a luxury global online retailer, aside from its standalone stores and own brand e-commerce site. Rings, necklaces
and bracelets in 18-karat white and pink gold variations, with some new creations featuring vibrant coloured stones and brilliant diamonds, were on offer. Meanwhile Tiffany & Co. offered pieces from the Tiffany T Collection for a limited time, and the collaboration brought the maison to more than 170 countries, which is significant, given that Tiffany’s e-commerce presence is currently limited to only 13 countries. In 2018, Net-a-Porter also collaborated with Cartier for an online pop-up. “The Cartier pop-up was a great success so we were very pleased to bring the brand permanently to our site,” says Elizabeth. “Our creative campaign for the pop-up drove high engagement and it was great to be able to integrate Cartier into the Neta-Porter world. We launched four iconic Cartier watch collections; the Tank, Panthère and Ballon Bleu, followed by Baignoire. There was a mix of steel and gold styles as well as precious pieces, so there really is something for everyone.” Small luxury brands are also catching up fast to enter and leverage the digital marketplace, as understood by Nada Ghazal, founder of Nada G Fine Jewellery. “For many people, e-commerce has changed the way they purchase jewellery, because the digital world among other aspects has made jewellery more accessible, and more desired,” she says, before adding that: “Different people have different purchasing habits, and there will always be women who want to touch and feel the piece, so I think a combination of physical shopping and online shopping is a must, even if the final purchase takes place online.” After all, customers will not wait around if retailers don’t provide a seamless service: indeed, millennials can switch between media platforms at an average of 27 times per hour. Brands need to support this service with social media content, which is understood by designer Joanna Laura Constantine. “Social media has helped a lot in promoting my brand and keeping my customers up-todate with our new collections and news. It also helped us get noticed by stores like Moda Operandi and Neiman Marcus to name a few, as well as international stylists.” It’s the dawn of a new era; one that takes place – at least, in part – online, and with so many exceptional jewellery and watch brands getting in on the action, the opportunities for a smoother purchasing experience are all but a certainty.
INDUSTRY NEWS
Photography: Piaget. Words: Annie Darling
The adoption of online selling by high-value watch and jewellery brands has been slow, but change is coming
Piaget’s Possession collection was among the first high-end jewellery lines to be sold online, after it was unveiled on Net-a-Porter in 2017
FROM A BYGONE ERA MOJEH examines why rare vintage jewels and heritage watches are becoming increasingly popular among contemporary collectors
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eloved fashion figure Daisy Fellowes, daughter of Duke Decazes and sewing machine heiress to the Singer fortune, commissioned from Cartier the handsome Hindu Necklace in 1936. A truly resplendent creation, the piece was crafted from an exceptional string of rubies, emeralds and briolette-cut sapphires, as well as fluted and melonscooped beads. The French socialite famously wore the choker to what was later dubbed ‘The Ball of the Century’; a lavish gathering hosted by eccentric multi-millionaire art collector Charles de Beistegui at Venice’s grandiose Palazzo Labia in 1951. Jewellery and watch pieces with deep-seated influence like Fellowes’s Hindu necklace are becoming increasingly popular investments, in part to protect collectors against rising inflation and economic uncertainty. Classic Art Deco Bulgari items, as well as those handcrafted by Van Cleef & Arpels, are among the numerous themed pieces that are seeing a reemergence in auctions as well as the media, having spent years tucked away in their retrospective archives. It’s widely accepted that the focus on quality, design, craftsmanship and precious gemstones during the Art Deco heyday of jewellery in the Twenties and Thirties remains unparalleled, with investors long scouring collectables markets for items that will hold their value against rapidly rising prices. And antique jewels and timepieces, it would seem, fit the bill because of their long-lasting elegance and rarity. Vintage jewels – especially from houses such as Boucheron, Bulgari, Cartier, Mauboussin, Raymond Yard and Sterle – have always had a strong following among history fiends within the jewellery and watch industry, as does Fabergé; a beautifully historic house whose famous eggs, dating from around the turn of the 20th century, are regularly sought
W AT C H E S & J E W E L L E R Y
Photography: Supplied
Joséphine ring, CHAUMET
Daisy Fellowes in 1936 wearing the Tutti Frutti necklace, CARTIER
Royal jewels from the Bourbon Parma Family, SOTHEBY’S
out by Russian collectors seeking to reclaim their country’s longstanding heritage. This insatiable attraction and comforting nostalgia that surrounds vintage jewellery and watches has also resulted in the emergence of reinterpreted historic collections. For example, the Montblanc 1858 Automatic Chronograph, which features all the distinctive codes of the brand’s line while introducing a smaller case size. The vintage-inspired dial is especially reminiscent of the Minerva heritage. Housed in a 40mm stainless steel case with slim curved horns featuring polished and satin finishing, the Montblanc 1858 Automatic has been enhanced with a bronze bezel and fluted crown, creating a distinctive vintage look. The Heritage Tourbillon, meanwhile, is part of a popular collection which boasts structures that are inspired by historic H. Moser & Cie timepieces, thus paying tribute to exceptional craftsmanship, both in watchmaking and its related disciplines. Honouring tradition and the previous work of highly-skilled artisans, numerous decorations are a feature of Heritage collection models by H. Moser & Cie, having been worked on by the expert hands of master engravers, guilloché workers, stone-setters and enamellers. The classicism of the Heritage Tourbillon is unmistakably evident in the notched crown and Grand Feu enamel on the dial, which is accentuated by the rounded Roman numerals and the flame-blued swallow tail hands.
This insatiable desire for vintage creations has previously been understood and catered to – Chaumet’s Joséphine collection, for example, regularly unveils additional editions to the already well-established line, that takes its inspiration from Napoleon’s first wife who was a style-savvy pioneer for her time. The suite’s exceptionally beautiful geometric motifs are inspired by Joséphine’s very own jewellery preferences, as well as her sizeable collection of Chaumet-made pieces. Her timeless influence has resulted in countless delicate designs that perpetuate the maison’s distinctive grace and elegance. Cartier’s Rajasthan necklace, meanwhile, is a modern example of the Hindu choker’s longlasting significance. A part of Cartier’s instantly recognisable Tutti Frutti collection, which was first popularised in 1901 when the maison’s founder designed a multi-hued pendant for Queen Alexandra of England, the Rajasthan proudly showcases an awe-inspiring 136.98-carat carved Colombian emerald, which is intricately engraved with an astonishingly elaborate efflorescent motif. This emergence of these historically-inspired, but very modern, pieces suggests that there’s not only a financial incentive to collectors purchasing vintage jewellery – it is weighted in meaning and, more often than not, there’s a sentimental reason behind why a collector desires a particular piece.
Tutti Frutti, AUDEMARS PIGUET
VINTAGE JEWELS… HAVE ALWAYS HAD A STRONG FOLLOWING AMONG HISTORY FIENDS.
A universal form of adornment, each heritage creation has been heartily infused with the emotional life of its cherished predecessor and, subsequently, the revamping of iconic pieces is fast becoming a growing trend for the modern man and woman. Take the exceptional Pivoine Clip, for instance, crafted in the early 20th century by Van Cleef & Arpels. It’s inescapably historic; 706 rubies weighing 71 carats and 239 diamonds weighing 29.72 carats adorn the delicate pair of brooches, which were purchased in 1946 by Mahmoud Fakhry Pacha, the Egyptian ambassador in Paris, most likely on behalf of Princess Fawzia of Egypt, sister of King Farouk. The maison’s heritage collection gathers vintage high jewellery pieces that were produced by the jeweller between the Twenties and the Eighties. In some cases, vintage gemstones are even refitted into contemporary, bespoke jewellery and watch pieces, with many enthusiasts spending years tracking down rare, high-quality antique stones from around the world for use in the creation of bespoke items – whether that be an exquisite amethyst and chalcedony stone reminiscent in colour of St Tropez’s kaleidoscopic waters, or a blush pink tourmaline hand-carved to dovetail like puzzle pieces. Harry Winston is another well-known maison who has long transformed illustrious stones into wearable artworks and has subsequently revolutionised modern jewellery design. In 1949, he acquired one of the most famous jewels of all, the 45.52-carat Hope Diamond, which had been painstakingly mined in India before becoming a phenomenal centerpiece for the crown jewels in pre-revolutionary France. Other notable acquisitions included the South African 726-carat Jonker, which he split into 13 separate – but equally stunning – statement pieces. While the art of hunting historic jewellery and watch pieces has long been practiced, recycling heritage themes, or parts of them, seems to have become more popular than ever. Whether it’s the simple resizing of a vintage timepiece by Audemars Piguet, or the choosing of a geometric setting from an archive piece at Dior, the range of possibilities is endless. The best part: The emotional connection you’ll retain with an inspired item is truly unique and will serve as a lasting union of the past, present, and future.
1858 Automatic Chronograph, MONTBLANC
Heritage Tourbillon, H. MOSER & CIE
Royal jewels from the Bourbon Parma Family, SOTHEBY’S
MOJEH investigates the history of the pearl as well as its deep-seated significance in jewellery
MOJEH JEWELLERY
Photography: Supplied. Words by Annie Darling
REGAL PANACHE
Necklace, MIKIMOTO
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atural pearls are among the rarest of gems. Their supply is almost entirely depleted, meaning that they are found very infrequently, often only in the seas off of Bahrain and Australia. This scarcity is handsomely reflected in the prices they frequently fetch at auction, with antique pearl pieces selling for recordbreaking sums. The wife of Napoleon III, Eugénie de Montijo – the last empress of France – had a wonderful jewellery collection bursting with grey pearls, which without doubt made her something of a trailblazer in the 19th century. After the fall of the Second Empire, Eugénie fled to England were she sold her jewels, many of which fetched eye-watering sums, including a strand of spectacular black pearls that sold for Dhs73,000 at Christie’s London in 1872. Others were sold privately, including additional grey pearls which were bought by American millionaire and son of a railroad tycoon, George Crocker. “Pearls are the most classic gem,” says luxury jewellery company Mikimoto. “Since antiquity, they have been highly sought-after and treasured for their understated beauty and elegance.” The world’s oldest gem, pearls have been admired since long before written history. Their discovery cannot be attributed to one person in particular, but they have since been utilised by fine and high jewellery maisons to create some of the most magnificent jewels the world has ever seen. A remarkable example of pearl jewellery was even uncovered in the sarcophagus of a Persian princess that dates back to 420 BC, which is now on display at the Louvre in Paris. “Unlike other gemstones that require polishing and cutting, pearls are the product of nature. This, added to
Ring, MIKIMOTO
the fact that the high lustre of pearls complement any complexion, brings light and softness to the wearer.” Unlike stones that are mined from the earth, a living organism produces a pearl, with their very existence being a freak of nature. A pearl is formed when an irritant, such as a parasite or piece of debris, becomes accidentally lodged in an oyster’s inner body, causing it to secrete a substance called nacre, which builds up around the irritant in layers until a pearl is formed. It is estimated that less than one in a thousand oyster shells produce a pearl during their lifetime. “It was our founder, Kōkichi Mikimoto who, in the closing years of the 19th century, developed the unique cultivation process that is now used worldwide to create almost all pearls sold today – making their beauty available to all women of the world.”
Earrings and necklace, ROBERT WAN
NATURAL PEARLS WERE ONCE EXCEEDINGLY RARE AND ONLY WORN BY ROYALTY. MIKIMOTO
Kōkichi devoted his life to the gem and was once known as the Pearl King. In 1893, he made history when he successfully created the world’s first cultured pearls. Ever since, his lifelong dream of “adorning the necks of all women around the world with pearls” has lived on through his namesake maison, which continues to craft high jewellery for the blue-blooded elite, from royalty and aristocracy to celebrities. “The Middle Eastern woman’s taste today is much the same as her contemporaries around the world,” say the brand when asked about its regional clientele. “They desire to own jewellery that is unique in design and uses the most exclusive materials in their manufacture. The fact that Mikimoto is a Japanese high jeweller among many western jewellery houses gives our collections a difference that reflects the well-known Japanese reputation for playfulness of design and unequalled quality.” Before Kōkichi and the start of the 20th century, the only way to collect pearls was through the use of divers, who would risk their lives at depths of up to 100 feet to retrieve illusive oysters. An abundance of natural oyster beds in the Persian Gulf means that pearls have also carried great significant in Arab culture throughout the years. The Middle East was once at the centre of the pearl trade, and it was a significant source of wealth for the region long before the discovery of oil. With such an ancient history, it comes as little surprise that the pearl has, over time, become shrouded in myth. In ancient China, for example, pearl jewellery was said to symbolise the purity of the wearer – perfect for gifting, it’s well-known that they were presented to Chinese royalty as early as 2,300 BC. In ancient Rome, pearls were considered the ultimate status symbol, while in the first century BC, Julius Caesar even passed a law limiting the wearing of pearls only to the ruling class. Meanwhile, according to legend, Cleopatra crushed a pearl into a glass to prove to Marc Antony that she could host the most expensive dinner in history. With such mystery surrounding the gem, it’s unsurprising that pearls have been an important trade commodity since Roman times, particularly after their discovery in Central and South America in the 15th century which led to the so-called ‘Pearl Age’. Ladies of nobility quickly became desperate to drape themselves in elaborate strings of pearl pendants and bracelets and that demand, according to Mikimoto, has long continued. The brand is constantly pioneering new ways to showcase the illustrious gem within elegant jewellery structures. “Our new collection, Jeux de Rubans, is
Necklace and earrings, BOGHOSSIAN
influenced by ribbons and is a luxurious and whimsical portrayal of the timeless motif of ribbons, which is loved all over the world. The collection is a reflection of the playfulness and femininity of the pearl. This has been echoed in the most elaborate and delicate of designs, each one of which is a one-of-a-kind unique piece.” Because although scarce natural pearls, retrieved by hand from the seabeds around the Gulf, India and Sri Lanka, have long been replaced by scientific techniques, pearls continue to fascinate and inspire wonder in even the most experienced jewellery connoisseur. Maisons steeped in history, such as Robert Wan, which is the world’s best producer of the Tahitian pearl, and Boghossian, whose six generations of jewellers have long been inspired by audacious design and innovative craftsmanship utilise the pearl in many of their fine and high jewellery collections. Why? Because it’s a symbol of extraordinary luxury, and that’s not set to change any time soon.
Little Girl tiara, CHAUMET
THE JEWELS IN THE CROWN T
he House of Chaumet is protective about its archive – and so it should be. Brimming with royal decadence and mystery, it defines the maison as one of the most storied jewellery houses worldwide, and continues to influence its future collections with gentle nods to numerous bygone eras, especially through its use of the tiara. The influence of Chaumet’s impressive past is obvious, and Jean-Marc Mansvelt, the house’s CEO, is proud to play a part in history by keeping these pieces alive. “Chaumet owes its success to Napoléon I,” he insists. “Marie-Étienne Nitot, the founder of the Maison Chaumet, embarked on a brilliant path the day the future Emperor designated him as his official jeweller in 1802. “Napoléon entrusted him with the crafting of the insignia of power, those he wore for his coronation as Emperor in 1804: the sword adorned with the crown diamonds and the legendary regent, the Charlemagne crown and tiara offered to Pope Pius VII to thank him for his benediction.” And their working relationship didn’t stop there. “Nitot and his son also supplied
Napoléon’s myriad precious gem-studded ornaments such as the Legion d’Honneur, the Imperial Glaive dagger in 1812 and the hundreds of small objects that served as diplomatic gifts, medallions, presentation boxes and watches.” Today, Chaumet is the only jeweller still in existence that’s on display in the Louvre, Paris, and many of the original order forms relating to the Emperor are of such historical significance that they’re housed at the city’s National Archives. “In 1811, Napoléon commissioned Nitot for several jewellery parures to enrich the crown jewels, including 150 ears of wheat set with diamonds on gilt silver stems that he planned to offer to his new wife Marie-Louise as hair and clothing ornaments,” says Jean-Marc. “The Empress also received, a year later and again by Nitot, an aigrette featuring emerald and diamond ears of wheat. Ever since, the ear of wheat has been an essential element of the maison Chaumet’s naturalistic repertoire.” And thus, a ‘Story of Wheat’ was born. The motif symbolises life and the golden days of harvest, and has been depicted in pieces
MOJEH HISTORY
Photography: Supplied
The House of Chaumet is dominated by themes of royalty, thanks to its illustrious history as the jeweller to a French empire
MARIE-ÉTIENNE NITOT, THE FOUNDER OF THE MAISON CHAUMET, EMBARKED ON A BRILLIANT PATH THE DAY THE FUTURE EMPEROR DESIGNATED HIM AS HIS OFFICIAL JEWELLER IN 1802. JEAN-MARC MANSVELT
Princess Irina Yusupov photographed in the Twenties wearing the Sun tiara, CHAUMET
Leuchtenberg tiara dated between 1930 - 1940, CHAUMET
such as Le Blé de Chaumet and collections including La Nature de Chaumet. What’s really remarkable about these historic pieces, says Jean-Marc, is the jewellery’s wider social and culture significance. “Napoléon’s taste for jewellery was political,” he explains about Marie-Étienne’s creations, “he wanted to make France the centre for luxury as well as fashion design.” Joseph Chaumet took over the company in 1889 and fortunately had the foresight to keep these beautiful tiara prototypes, along with every document relating to their creation and sale from 1780 when the company was first founded. “At the height of the neo-classical movement’s glory, these magnificent adornments, inspired by antiquity, were both elegant and imaginative,” Jean-Marc says with evident pride, about the brand’s tiaras. “Cameos, hard stones and pearls were combined with the most precious stones to create an effect which is both grandiose and simple.” The most famous of which – the Ear of Wheat tiara – featured an interlocking group of at least 10 diamond ears. “In 1811, Empress MarieLouise commissioned Nitot to create 150 stalks of wheat to adorn her gown and hair, which would form part of the crown jewels. A number of these were used to produce the Ear of Wheat tiara.” Despite being Napoléon’s second wife, Marie-Louise heavily inspired and continues to influence Chaumet’s
current collections – and so does her predecessor, Joséphine. “Passionately in love with Joséphine, Napoléon married her in 1796,” educates JeanMarc. “Empress Joséphine had a genuine passion for jewellery and was a fabulous ambassador for the magnificence of the empire. “Frontrunner for fashion and elegance, she had impeccable taste, remarkable grace and irresistible charm. Her singular way of melding styles, mixing and matching, and personalising her bold gestures, represents a modernity that seems very contemporary to our own time.” The couple divorced in 1809, “because she could not bear an heir,” says Jean-Marc, which was essential for the survival of the French empire, as well as Napoléon’s legacy. “In April 1810, he wed MarieLouise de Habsbourg-Lorraine, the daughter of the Emperor of Austria. In 1811, the new Empress gave birth to the much-awaited son, proclaimed as the King of Rome.” Marie-Louise also had a penchant for all things beautiful. “Napoléon’s second wife owned a sumptuous collection of jewels, all of them created by Chaumet; every auspicious occasion was a reason to receive a splendid gift. The jewels – sparkling attributes of power – were meant to dazzle the Imperial court and foreign royalty.” In 1890, a year after Joseph Chaumet acquired the maison, he decided to start taking photographs of
EMPRESS JOSÉPHINE HAD A GENUINE PASSION FOR JEWELLERY AND WAS A FABULOUS AMBASSADOR FOR THE MAGNIFICENCE OF THE EMPIRE. JEAN-MARC MANSVELT Ear of Wheat tiara dated 1811, CHAUMET
every piece made, and created a laboratory in his home for this very purpose, providing evidence of which pieces made it from sketch to reality. Quite incredibly, these documents have survived; most other jewellery houses who did the same threw the evidence away when they ran out of space to keep it. The brand’s careful consideration of these documents has proven that Empress Joséphine – alongside MarieÉtienne – brought the neo-classical tiara back into fashion. An emblem of power and sovereignty, their style continues to spearhead a demand of the use in jewellery of classical motifs like the sheaf of wheat, a symbol of fertility. Similarly, the wheat motif worn by Empress Marie-Louise has since dominated the ethereal tiaras of the Belle Époque, in addition to the brooches crafted by Chaumet in the post-war period. To keep up with the maison’s history, an official archive department was established in 1980, in part to celebrate the company’s bicentenary. Everything is stored chronologically by decade, in acid-free paper, under temperature- and humidity-controlled conditions, and due to space (and security) issues, not everything is in one place. Three hundred thousand photographic documents exist, many of which detailing intricate sketches of French royal tiaras, along with thousands of photographic prints, 550 nickel silver tiara maquettes, and 200 actual archive pieces – the majority of which were bought back at auction, either from private clients or dealers. Today, as ever, the Chaumet tiara remains a highlycoveted item. Modern masterpieces continue to take inspiration from those worn by Marie-Étienne’s original blue-blooded clientele, and take between 500 to 1,500 hours of work, representing a timeframe of two to six months. Each tiara undergoes many different steps: shaping, dismantling, preparation of the setting, polishing, re-cutting diamonds, setting, applying hallmarks, Chaumet engraving, final assembly and final finishing. And the work, of course, is all undergone at the Chaumet workshop, located 12 place Vendôme. For who wouldn’t want a little piece of history?
Le Laurier de Chaumet tiara dated 2016, CHAUMET
Valses d’Hiver tiara dated 2017, CHAUMET
Bourbon-Parme Fuchsia tiara dated 1919, CHAUMET
A 1930 French Art Deco coral, onyx, mother-of-pearl and diamond ‘Snake’ bracelet exhibited at the The European Fine Art Fair
Art of Jewellery The
MOJEH discovers how jewellery’s increased participation in exhibitions and art fairs is defining it as an art form
J
ewellery is, for some, essentially an accessory. It’s an after addition that accentuates an outfit or an adornment that takes daywear up a notch for evening. And for others, jewels are little more than a symbol of status, the size of the diamond ring merely serving as a measure of wealth. Yet in recent years the proliferation of jewellery galleries amongst art fairs and the prevalence of retrospectives by high jewellers have been busy contesting these notions, ensuring that buyers look beyond the bling of the ring to the deep-rooted stories, cross-cultural exchange and artisanal techniques embedded within jewellery, arguing that it should be viewed through the academic lens of fine art and courted by the same discerning crowd. It’s true that, for many, jewellery is an indisputably respected art form, but those within its world have long debated its status. Indeed, training in fine jewellery was
a prerequisite for the great artists of the 15th and 16th centuries, but since then the titles of ‘art’ and ‘personal adornment’ have shifted back and forth from Baroque to Art Nouveau. Seminal maisons like Chanel, Van Cleef & Arpels, Chopard, and Cartier have strived to cultivate an image of their precious pieces beyond fashion items and accessories through a multifaceted approach. Cartier’s Cartier, Jeweler of the Arts (2012) saw the likes of David Lynch, Alessandro Mendini, Takeshi Kitano and Beatriz Milhazes collaborate with the maison’s master jewellers to produce unprecedented artworks made from stones that no longer aligned with the jeweller’s high standards. Meanwhile, Van Cleef & Arpels: The Art and Science of Gems (2016) showcased at the ArtScience Museum, Singapore, and saw the maison move away from the whimsy often associated
MOJEH ART
Photography: The European Fine Art Fair. Francesco Escalar/Bulgari
Words by Laura Beaney
For the first time in Russia, the Moscow Kremlin Museums is set to hold a retrospective exhibition titled BVLGARI. Tribute to Femininity. Magnificent Roman Jewels
Multi-sensory exhibitions like those by Chanel celebrate jewellery as pieces of artwork
with precious stones, creating an immersive experience driven by art and science that led visitors through two complementary routes: one uncovering the scientific processes involved in the formation of minerals, with 250 samples on loan from the National Museum of Natural History in Paris, and the other, a walk-through of the maison’s archival collection. The corresponding book used accompanying texts by art historians and mineralogists to establish context and highlight the full extent of the jeweller’s relevance to art. Jewellery, like art, can trigger an emotional response as pinpointed in Bvlgari. Tribute to Femininity. Magnificent Roman Jewels (2018) – an exhibition held at the historicallyloaded Kremlin Museum in Moscow. “In reality for us
it has always been important to tell our story, and we do it through some monographs and retrospectives,” says Lucia Silvestri, creative director at Bulgari. “This retrospective is dedicated to women and the deep connection between Bulgari’s creativity and the evolution of women’s desires and tastes. The creations on display celebrate the charism of those women who have been able to define their own rules, express their personality and they have done so also through jewels,” she continues. More than just a marketing tool, these exhibitions and retrospectives establish evidence in the form of preliminary sketches, archival images, filmic references, and the supporting words from masters of art and science make a case of the relevance of jewellery in the world of art. Indeed jewellery, like fashion, has long fought to be acknowledged as art, but now it’s finding its foothold. Since the Fifties it hasn’t been uncommon to find jewellery exhibited in the same spaces as society portraits by Paul César or Dragonfly table lamps by Tiffany; in fact, jewellery has been showcased in some of the world’s most prestigious institutions, but what’s changing is its context. ‘Artists’ jewellery’, a genre of wearable pieces created by the leading artists of the Forties and Fifties was, until recently, the staple offering by jewellery galleries at art fairs. Crafted by Pablo Picasso, Salvador Dalí, Alexander Calder, Louise Bourgeois, and their contemporaries, brooches, earring and necklaces were a chance to extend their practices and experiment with metal and precious stones. But today the art fair offering has
Photography: Olivier Saillant/Chanel
Apparel and jewellery have always been inextricably linked, and this is explored in the exhibition Bijoux-Bijoux! Costume Jewellery from Chanel to Dior
Hemmerle Maximilianstrasse 14, 80539 Munich, +49 89 24 22 600, Hemmerle.com
Necklace in bronze and white gold with emeralds, sapphires and agate beads, HEMMERLE
been shaken up with the introduction of contemporary designers that are taking ownership of the intersection. TEFAF (formerly known as The European Fine Art Fair), is widely considered to be the pinnacle of the art fairs. With a stringent selection process for its participants and a previous focus upon European Old Masters in recent years the fair has made strides to modernise its approach and the inclusion of jewellery has been a fundamental aspect of this strategy. TEFAF Maastricht 2018 included both high jewellery art and contemporary jewellery artists including Reza, Otto Jakob and Hemmerle. A testament to the increasing importance of contemporary high jewellery at fairs, TEFAF recently appointed Christian Hemmerle, the fourth generation in a family of Munich-based fine jewellers, to their Board of Trustees. “Materials are our starting point and drive our creativity,” says Yasmin Hemmerle, designer for the brand and wife of Christian Hemmerle. “We experiment with unconventional materials like wood or anodised aluminium to create the perfect setting. We have a determination to continually explore new ways to captivate our imagination and challenge our minds both aesthetically and technically. We travel across the world in search of rare materials such as 18th-century antique cameos or Egyptian miniature mosaics, as well as unusual stones with vibrant colours such as tsavorite, tourmaline and rubellite,” she continues. With a mission to transform the jewel into a contemporary work of art, Hemmerle’s designs bring beauty to the benign, proposing an avant-garde aesthetic
Bangle in iron, silver and white gold with diamonds, HEMMERLE
layered with cultural references to art, architecture and artisanship. “Jewellery is increasingly becoming more widely recognised as art,” insists Yasmin. “And as jewellery designers we now have the opportunity to use platforms once only enjoyed by traditional art forms – such as biennales, exhibitions, fairs and major institutions – to communicate through our work.” Hemmerle have been exhibiting at TEFAF for around 20 years yet it wasn’t until the start of this decade that the trend for jewellers exhibiting at art fairs really took off. The uprising of off-beat fairs like PAD London and Masterpiece that take a more multidisciplinary approach including design and decorative arts can also be thanked for the increase in the quantity of jewellers
attending. There were just two jewellers exhibiting at PAD London in 2013 whereas the October 2018 edition saw a total of nine. PAD London’s jewellery contingency included such highpoints as Siegelson’s Art Moderne (1931) by Jean Després – a sleek, silver and black lacquer cuff designed to extend along the wrist, while others called upon the design archive with Paris-based collector, designer and dealer Karry Berreby revealing an exquisite example of Piaget’s Seventies cuff-watch, its twisted golden rope punctuated with mottled jade. London jewellery consultant Valery Demure became the first contemporary fine jewellery curator to be invited to exhibit, she brought with her an all-female line-up that define the aesthetic of ‘now’ including London-based
Photography: Supplied
Earlier this year, to celebrate its 160th anniversary, Boucheron held an immersive exhibition at La Monnaie museum in Paris
Melanie Georgacopoulos whose collections consider the aesthetic possibilities of the pearl and LA-based Polly Wales who casts rather than sets and brings a plethora of off-kilter cuts and colour to the table. Since the Sixties the boundaries of what constitutes as jewellery have been pushed by the new wave of independent jewellers like Melanie and Polly who were often educated at art school and graduated with fresh and radical visions. This lease of new ideas paired with technological innovation and the acceptance of non-precious materials like bone, horn, plastic, paper and textiles have upturned the notion that jewellery is simply a symbol of financial status. “A Hemmerle wearer could be anyone,” says Yasmin. “We have collectors from all over the world of all different ages and nationalities. I would say the common denominator is that they are confident people with an eye for originality and strong interest in craftsmanship and quality.” Today’s avant-garde artist-jewellers don’t pander to trends or conformity, they are more concerned with exploring the interaction between jewellery and the body, pushing the definitions of material and wearability to their limits and establishing jewellery as wearable art. As jewellery continues to be exhibited increasingly alongside art, cynics might argue that this is simply a bid for the attention and the subsequent sales that come from an art fair’s high concentration of high-net-worth individuals. But for many this is a way of connecting art lovers with the cutting-edge of creativity and designers they might not have otherwise encountered.
PAD London’s jewellery contingency for 2018 included such highpoints as Siegelson’s Art Moderne (1931) by Jean Després
Don’t miss… What: Bvlgari. Tribute to Femininity. Magnificent Roman Jewels Where: Moscow Kremlin Museums, Moscow, Russia When: 7 September 2018 – 13 January 2019 Bvlgari. Tribute to Femininity. Magnificent Roman Jewels is a retrospective exhibition celebrating and outlining the strong association between Bulgari’s creative artistry and the ever-evolving taste of females in parallel with social and cultural trends. The immersive set up sees more than 500 pieces – from the late-19th century until the Nineties – highlight the Italian maison’s unwavering ambition to create jewellery that has universal appeal but remains fashionable and timeless and ultimately holds high artistic value. Kreml.ru
Photography: Francis Amiand/PAD
What: Bijoux-Bijoux! Costume Jewellery from Chanel to Dior Where: Kunstgewerbemuseum, Berlin, Germany When: 13 October 2018 – 27 January 2019 Bijoux-Bijoux! Costume Jewellery from Chanel to Dior is a comprehensive gathering of around 500 costume jewellery masterpieces sourced from the Gisela Wiegert collection dating between 1930 and 2007. The show is divided into two parts: The first sees the museum’s fashion gallery transformed into a backdrop from which to demonstrate the longstanding relationship
between costume jewellery and high fashion. Jewellery objects are presented alongside garments from the museum’s own collection. Selected creations by Coco Chanel, Coppola and Toppo, Eisenberg, Miriam Haskell, Kenneth J. Lane, and, more recently, Elsa Schiaparelli, Vendôme, and Albert Weiss present a visual survey of costume jewellery and its evolution in both Europe and the States between the 1930s and today. The second part of the exhibition is devoted exclusively to works by the House of Dior and showcases exquisite parures made between 1955 and 2007. Smb.museum What: Masterpiece London Collecting Fair Where: The Royal Hospital Chelsea, London, England When: 27 June – 3 July 2019 In partnership with Chopard, Masterpiece draws together the worlds of art, design, furniture, and jewellery from antiquity to the present day for one of the most prominent and expansive cross-collecting fairs. The fair’s exhibitors encompass all eras and disciplines with metal work dating back to 400BC, showcased in the same space as modern and contemporary postwar art, porcelain by Rouen, and 18th-century English furniture. Last year’s exhibitors included distinguished names like Cindy Chao and Van Cleef & Arpels as well as specialists in antique jewellery like Véronique Bamps and Epoque Fine Jewels. Masterpiecefair.com
PRESSURE MAKES
DIAMONDS Jewellery designer Roberto Coin takes MOJEH on a tour of his opulent home in Italy’s Vicenza
I
talian artisan Roberto Coin is driven by an innate passion for style and art. The Venice native combines these two creative worlds while working on collections for his namesake jewellery brand, all of which reflect his signature style and audacious personality. The same can be said for his spectacular Vicenza home, which he shares with his wife, and which he has granted MOJEH exclusive access to. “Vicenza is a small town in the Veneto area of Italy and my house is in the hills that surround its historical centre,” explains Roberto. Vicenza is charmingly medieval, a dense maze of quaint dwellings that line narrow byways that are interspersed with the occasional example of the Renaissance’s most elegant architecture. The small city is, somewhat surprisingly, Italy’s most productive capital of jewellery, and its Jewellery designer Roberto Coin renowned reputation is what captivates Roberto. “Vicenza is world-famous for its gold manufacture, which is why I choose to live here; it’s where the best Italian artisans work,” he says of the region’s local legacy. Roberto also boasts a second home in the very heart of Venice, his hometown, which is an estimated hour’s drive away from Vicenza. “I go to Venice whenever I can,” he reveals. “I was born in Venice, and it’s my favourite city where, even today, I find
great inspiration… When I am there time stops. The water makes me feel relaxed and my creativity takes inspiration from everywhere.” Roberto’s gold-smothered Vicenza home is breathtaking – an old palace that dates back to the 16th century, it’s important to the craftsman that the space retains accents of its rich history and, as such, he and his wife both preserved and restored many of their home’s original features, keeping the decorative windows and archways as accurate as they would have been when the structure was first built. “The atmosphere is unique,” says Roberto about his home. “It embodies beauty and personality.” Past and present certainly meet, and rather seamlessly, with clean contemporary lines and plush furniture in plumpurple contrasting against the building’s age-old aesthetic. And yet somehow, as with most of Roberto’s adventurous designs, it works. Lashings of glass hang from the ceiling in the form of grand chandeliers, and elaborate paintings are propped up along ivory-hued shelves. “I love art in general. My brother, who is an art connoisseur, helped me find some pieces that decorate my house’s wall and spaces today. “I did not want artwork from famous international artists,” he furthers. “I choose each piece based on
LIFE & STYLE
Photography: Andrea Ferrero
Words by Annie Darling
“I did not want artwork from famous international artists,” says Roberto Coin about his Vicenza home’s interior design. “I choose each piece based on what it gives me in terms of emotion, or whether it has an interesting story.”
Minimal monochrome and clean lines are punctured with hefty doses of plum-purple and lashings of glass
Roberto’s home was a palace that dates back to the 16th century and many of the original structure’s architecture has been preserved and restored
VICENZA IS WORLD-FAMOUS FOR ITS GOLD MANUFACTURE, WHICH IS WHY I CHOOSE TO LIVE HERE. ROBERTO COIN
what it gives me in terms of emotion, or whether it has an interesting story. I also put this attitude and passion into my jewellery creations. Every jewel has a story and a soul, it doesn’t need to be recognisable or famous, it needs to be unique.” Roberto designed his home in collaboration with an Italian architect who, he says, “later had a very good career but, at the time, he wasn’t famous.” In keeping with Roberto’s colourful personality, he places significance on how the interior feels, rather than the importance of what kinds of luxuries fill it. “I wanted a house surrounded by trees and gardens,” he says. “It had to be simple in regards to its lines, but also it had to have a strong connection to the nature that surrounds it.” The space, in addition to Roberto’s Venetian home, has been used by his luxury brand for photoshoots, with the latter located very close to the breathtaking Piazza San Marco. “I have a wonderful terrace on the canal and it retains all the magic of the city.” Growing up in Venice, Roberto was inspired by the jewellers and artisans around him, creating jewellery that for him, were works of art. “I lost my parents when I was a child,” the designer reveals, and so he embarked on a hospitality career that involved lots of travel, first to Switzerland and, later, England. “When I came back to Italy, I was excited for my next adventure but I was also afraid of all the challenges I was going to face: a new job, a new city, and a new life in general,” he admits, but for Roberto, there’s no place like home. “I love all Italian cities and I have had the chance to see so many during my life,” he says. “So many of them were great places to live in and for many different reasons.” So if you were to relocate from Italy, where would you go? “I love New York, where there is also a Roberto Coin branch. After all, it’s like the centre of the world. I love Madrid, Granada and Sevilla; particularly because my wife is Spanish, and she helped me discover all these incredible cities. And then there’s Moscow, Dubai, Paris… It’s just impossible to choose,” he laughs.
Roberto decided to move back to his home country upon realising his true calling was in jewellery design. “I was very satisfied working in the hospitality business,” he admits, “and I could have continued working in the same career. However, I also love sports, gardening, writing, and so on. I would need so many lives to live all my passions.” And so, as Roberto describes it, he “mustered the courage to leave everything I had previously known behind, to start a new adventure.” But there was one problem, he laughs: “I knew almost nothing about the gold industry. So I started studying with the best Italian artisans and jewellery masters I could find. After seven years, I opened my production and became a supplier of the best international jewellery brands until 1996, when I decided to launch my personal brand. “My name was already renowned in the industry at that time,” he explains about his decision to name the business after himself. “So it was the easiest decision to use it for the brand as well. Today I feel I can say with confidence that the courage and curiosity I had in 1977 has brought me great success. It’s also given me the chance to work creatively, which was my dream.” But not his only dream. “I hope to create something new,” he reveals, “something that did not exist before”, which is what he has already achieved through his various jewellery collections. One of his most recent lines, called Roman Barocco, stems from the classic technique championed in his already established Barocco suite. Inspired by the architecture of Roman buildings and the design of curved lines influenced by theatrical Roman cupolas, this feminine collection of rings and earrings are simultaneously modest and magnificent. Other collections have featured delicate creations carved from coloured stones, including malachite, jade and turquoise. Shimmering gold and diamonds also make regular appearances throughout his work, and having now enjoyed Roberto’s Italian home, it becomes clear that his penchant for glamour isn’t limited to his exquisite jewellery creations.
The House of Tiffany (2016) display
THINK OUTSIDE THE BOX The windows at Tiffany & Co.’s Fifth Avenue flagship are the stuff dreams are made of, as told in Assouline’s latest memoir
FINAL NOTE
A masterpiece from Tiffany & Co.’s 2018 Blue Book
Photography: Ricky Zehavi/Assouline. Tiffany & Co.
There are few jewellery stores as intrinsically associated with the bustling city of New York as the Tiffany & Co. flagship on Fifth Avenue. After all, it was through those windows that Audrey Hepburn’s Holly Golightly famously stared with admiration at the dazzling creations within, as she simultaneously picked at her morning croissant in Breakfast at Tiffany’s. A maison, and location, with such social significance without doubt deserves respect, and so it’s unsurprising that luxury publishing house Assouline has unveiled a special memoir dedicated to those very windows that Audrey peered so determinedly into. Windows at Tiffany & Co. are a beautifully collated tome, offering a rare insight into the luxurious history that dominates the much-desired maison’s home turf, all the while taking a specific interest in the store’s groundbreaking window displays. “On my first visit to New York at 13, I was struck by how deliberately small the windows were – how secretive, how hermetic. And the first time I walked into Tiffany’s, years later, the contrast between the confidential scale of the windows and the vast expanse of the main floor made me feel I was entering a treasure cavern,” writes American editor-in-chief and actress Joan Juliet Buck about the spectacular space. “The history of Tiffany’s extraordinary windows is a completely enchanting legacy,” agrees Catherine Martin, who is also quoted in the publication. Beginning with founder Charles Lewis Tiffany’s vision, Tiffany & Co’s store windows have long been iconic, and have since evolved – who can forget the head-turning displays orchestrated by the late-artist Gene Moore towards the end of the 20th century? It is such displays, packed with unique creativity, in addition to others, that are celebrated in this elegant book, which includes never-before-seen archival transcripts and stunning imagery, alongside concept illustrations that bring Tiffany & Co., and its superb jewellery pieces, to life. Assouline.com
Photographed by Mehmet Erzincan
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