Chanel’s design formula, if there is one, is really straightforward. It is easy to understand, neither too simple nor too complicated, and often inspired by founder Gabrielle “Coco” Chanel’s most cherished influences, such as the camellia, lion and star.
Signature Cocoon 18k white gold necklace with a carved rock crystal, 1.5-carat brilliant-cut diamond and 652 brilliant-cut diamonds.
In February 1955, the late designer unveiled a handbag, the 2.55, which shared the same spirit. Named after the date of its creation, the 2.55 was crafted from supple leather and expertly quilted all over in a geometric pattern similar to those found on the jackets of boys who worked at horse stables. Chanel discovered that, when stitched, the pattern always kept its shape, allowing her to later use other materials like jersey, lambskin and even fabrics as delicate as silk to give body, solidity and volume to the now iconic accessory.
The Signature de Nacre cuff boasts a mother-of-pearl middle that spanned more than four months to carve. Signature de Nacre 18k white gold cuff with 496 brilliant-cut diamonds and mother-of-pearl.
A modern adaptation of that same pattern is now the star of Chanel’s new high jewelry collection, named Signature de Chanel. There are 48 elaborate pieces designed and handcrafted in the Parisian house’s workshop in Place Vendôme; each is composed of gently curved lines to exude an appeal that is less graphic, but more fluid and sensual.
265 sapphires, each requiring more than an hour to cut and finish, are arranged using an invisible setting technique on the Signature Ultime bracelet. Signature Ultime 18k white gold bracelet with a one-carat brilliant-cut diamond, 265 square-cut sapphires and 221 brilliant-cut diamonds.
Diamonds are not the only precious gemstones used in the collection. Punctuating the range are also the refined accents of azure sapphires and aquamarines, while grey mother-of-pearl, rock crystal and pearls are laboriously cut, sculpted and arranged over months just to recreate the brand’s famed quilting motif.
Story Credits
Text by Kenny Loh
This story was first published in L’Officiel Singapore.
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