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Astounding gemstones and awe-inspiring craftsmanship notwithstanding, the story of heritage jewels is what make them the stuff of legends. Here are the tales of some of the most amazing heritage pieces and of their owners.

Jewellery pieces only truly come alive when they’re worn, and as they’re often inextricably connected to a particular owner, these precious objects are transformed and take on a persona of their own. When we admire heritage pieces from behind glass in museums or exhibitions, or perhaps placed on headless busts, their stories still resonate. One can almost hear the proclamations of a hopelessly smitten lover, or the chides of an insatiable woman, if not feel the unspeakable pain brought about by loss and tragedy. There exist many such storied relics, but here are a few that will surely compel you to explore more.

VAN CLEEF & ARPELS: UN-ZIPPED

Perhaps unknown to many, Van Cleef & Arpels’ famous Zip necklace was conceived on the suggestion of the Duchess of Windsor, formerly the American socialite Wallis Simpson, a big client of the house whose controversial love story and eventual marriage to Prince Edward of Great Britain – who in 1936 abdicated to marry “the woman I love” – were the stuff of legend. So too was her jewellery collection. The couple was known to have shared an incredible passion for jewellery; story has it that the
Duke would spend hours with Van Cleef & Arpels’ designers to develop
and customise jewels for the Duchess.

In the 1930s, after the Duchess of Windsor had just purchased an Elsa Schiaparelli piece that was fastened, for the first time in haute couture, with a zipper – then relegated mainly to utilitarian wear – she encouraged, or perhaps challenged, Renée Puissant, then artistic director at Van Cleef & Arpels, to create the Zip necklace, a piece designed to be worn either open around the neck, or closed, gracing the wrist as a bracelet. Made from yellow gold and diamonds mounted in platinum, the Zip took more than a decade to make and was only completed in 1951. The Duchess is believed never actually to have owned a Zip necklace herself – pundits say the wait might have been a tad too long – but she remained a huge fan of the French house, having owned many of its pieces.

BULGARI: A LOVE SET IN STONE

It’s remiss not to include Elizabeth Taylor’s renowned emerald necklace and brooch suite by Bulgari when speaking about jewellery of incredible provenance. As the story goes, the actor Richard Burton fell in love with Taylor after filming the first scene of Cleopatra together – naturally – and the jewels just poured thereafter. Burton famously said, “the only word Elizabeth knows in Italian is Bulgari” and, unsurprisingly, Bulgari’s Via Condotti store was one of the couple’s favourite venues in Rome.

Burton gave Taylor the spectacular Bulgari necklace mounted with 16 step-cut octagonal Colombian emeralds of 60.50 carats, each surrounded by brilliant-cut and pear-shaped diamonds, and on their engagement he presented her with this 23.44-carat step-cut Colombian emerald brooch, which she wore on their wedding day in 1964. In 2011, Christie’s held a sale of Taylor’s private collection, which set records as the most valuable jewellery in auction history. From this sale and other private transactions, the brand re-acquired nine of its pieces – one of which is this brooch.

BOUCHERON: A QUESTION OF TASTE

The Grand Duke Alexei Alexandrovich of Russia, a devoted client of Boucheron, is known to be the first owner of the Point d’Interrogation (or, as most of us know it, the Question Mark), an astounding emerald and diamond peacock-feather necklace. Designed by Frédéric Boucheron and the head of his workshop, Paul Legrand, the necklace was referred to, for obvious reasons, as the Question Mark: it was wrapped around the wearer’s neck without the need to be fastened.

Although this modern, asymmetrical piece formed part of the Boucheron collection that won the Gold Medal at the World’s Fair in 1889, the Grand Duke already had his eyes on it even before it was presented to the world, having seen it in a sketch in 1879. He bought it a few years later, in 1883.

CARTIER: EPIC PROPORTIONS

This extravagant necklace was made for Sir Bhupindra Singh, the Maharaja of Patiala, in a special order that was placed in 1925 in Paris and completed three years later. The Maharaja brought a trove of his traditional Indian jewels to Cartier, instructing the house to modernise them. The result was a magnificent ceremonial necklace with, at its centre, the 234-carat De Beers yellow diamond, believed to be the seventh-largest diamond of all time and surrounded by another 2,900 diamonds.

In 1947, the necklace vanished and in 1998, Éric Nussbaum, the former director of the Cartier Collection, discovered it in a poor state. Its restoration took Cartier’s artisans more than two years, with zirconia, white topazes, synthetic rubies, smoky quartz and citrines replacing the original gems. Tremendous efforts went into restoring the platinum chain necklaces, specifically that of the pendant that held the De Beers diamond. The necklace, as it now appears in the Cartier Collection, was shown in public for the first time in 2002.

CHAUMET: PERFECT PARURE

In the early 1800s, Chaumet and its founder Marie-Étienne Nitot were appointed as Napoleon Bonaparte’s official jeweller. Nitot would go on to design Napoleon’s coronation crown, sword hilt and many precious gifts for his first wife, Empress Joséphine, who would be known as Chaumet’s “first great client”.

The royal court’s ties with Nitot would continue even after Napoleon’s second marriage to Marie-Louise of Habsburg-Lorraine of Austria, the grand-niece of Marie-Antoinette. They married at the Louvre Chapel in 1810, when the Empress Marie-Louise received as gifts two elaborate sets of jewels, each comprising a tiara, a necklace, a pair of earrings and a comb. With Nitot’s desire to preserve a copy of these ceremonial parures, he made replicas – and this tiara is one of them. It’s part of the replica of the ruby and diamond parure that belonged to Empress Marie-Louise, which was made in gold, silver and set with white sapphires, zircons and garnets.

HARRY WINSTON: FATEFUL BEAUTY

As stunning and jaw-dropping though this 45.52-carat intense dark-blue Hope Diamond is, tragedy has befallen anyone who came to its possession. Smuggled out of India in 1642 and sold to Louis XIV 26 years later – when it was called the French Blue – it was worn once by the king, who died shortly thereafter. It then went to Louis XV, who never wore it but lent it to his mistress, Countess DuBarry, who was beheaded in the French Revolution (Marie Antoinette, who shared the same fate at the guillotine, was also believed to have worn it often).

The diamond then appeared in the collection of Henry Philip Hope, the stone’s namesake, in 1824, who had it set on a brooch and sometimes lent it to Louisa Beresford, wife of his brother Henry Thomas Hope, when she hosted society balls. Henry Philip Hope died in 1839 and his three heirs fought in court for a decade until his nephew Henry Hope acquired the gems, including the Hope Diamond. It was showcased in the Great Exhibition of London in 1851 and the Paris Exhibition of 1855, but was usually kept in a bank vault.

By the early 1900s, the Hope changed hands once more and was cut, re-cut and re-set time and again, with tragedy never far from it. It was owned by Evalyn Walsh MacLean, whose husband was implicated in the Teapot Dome government scandal and whose son was killed in a motor accident. Harry Winston acquired the Hope in 1949, and 10 years later donated the gem to the Smithsonian, where it resides to this day.

The post Incredible Stories of 6 Heritage Jewels You Might Not Know About appeared first on Prestige Online - Hong Kong.

Astounding gemstones and awe-inspiring craftsmanship notwithstanding, the story of heritage jewels is what make them the stuff of legends. Here are the tales of some of the most amazing heritage pieces and of their owners.

Jewellery pieces only truly come alive when they’re worn, and as they’re often inextricably connected to a particular owner, these precious objects are transformed and take on a persona of their own. When we admire heritage pieces from behind glass in museums or exhibitions, or perhaps placed on headless busts, their stories still resonate. One can almost hear the proclamations of a hopelessly smitten lover, or the chides of an insatiable woman, if not feel the unspeakable pain brought about by loss and tragedy. There exist many such storied relics, but here are a few that will surely compel you to explore more.

VAN CLEEF & ARPELS: UN-ZIPPED

Perhaps unknown to many, Van Cleef & Arpels’ famous Zip necklace was conceived on the suggestion of the Duchess of Windsor, formerly the American socialite Wallis Simpson, a big client of the house whose controversial love story and eventual marriage to Prince Edward of Great Britain – who in 1936 abdicated to marry “the woman I love” – were the stuff of legend. So too was her jewellery collection. The couple was known to have shared an incredible passion for jewellery; story has it that the
Duke would spend hours with Van Cleef & Arpels’ designers to develop
and customise jewels for the Duchess.

In the 1930s, after the Duchess of Windsor had just purchased an Elsa Schiaparelli piece that was fastened, for the first time in haute couture, with a zipper – then relegated mainly to utilitarian wear – she encouraged, or perhaps challenged, Renée Puissant, then artistic director at Van Cleef & Arpels, to create the Zip necklace, a piece designed to be worn either open around the neck, or closed, gracing the wrist as a bracelet. Made from yellow gold and diamonds mounted in platinum, the Zip took more than a decade to make and was only completed in 1951. The Duchess is believed never actually to have owned a Zip necklace herself – pundits say the wait might have been a tad too long – but she remained a huge fan of the French house, having owned many of its pieces.

BULGARI: A LOVE SET IN STONE

It’s remiss not to include Elizabeth Taylor’s renowned emerald necklace and brooch suite by Bulgari when speaking about jewellery of incredible provenance. As the story goes, the actor Richard Burton fell in love with Taylor after filming the first scene of Cleopatra together – naturally – and the jewels just poured thereafter. Burton famously said, “the only word Elizabeth knows in Italian is Bulgari” and, unsurprisingly, Bulgari’s Via Condotti store was one of the couple’s favourite venues in Rome.

Burton gave Taylor the spectacular Bulgari necklace mounted with 16 step-cut octagonal Colombian emeralds of 60.50 carats, each surrounded by brilliant-cut and pear-shaped diamonds, and on their engagement he presented her with this 23.44-carat step-cut Colombian emerald brooch, which she wore on their wedding day in 1964. In 2011, Christie’s held a sale of Taylor’s private collection, which set records as the most valuable jewellery in auction history. From this sale and other private transactions, the brand re-acquired nine of its pieces – one of which is this brooch.

BOUCHERON: A QUESTION OF TASTE

The Grand Duke Alexei Alexandrovich of Russia, a devoted client of Boucheron, is known to be the first owner of the Point d’Interrogation (or, as most of us know it, the Question Mark), an astounding emerald and diamond peacock-feather necklace. Designed by Frédéric Boucheron and the head of his workshop, Paul Legrand, the necklace was referred to, for obvious reasons, as the Question Mark: it was wrapped around the wearer’s neck without the need to be fastened.

Although this modern, asymmetrical piece formed part of the Boucheron collection that won the Gold Medal at the World’s Fair in 1889, the Grand Duke already had his eyes on it even before it was presented to the world, having seen it in a sketch in 1879. He bought it a few years later, in 1883.

CARTIER: EPIC PROPORTIONS

This extravagant necklace was made for Sir Bhupindra Singh, the Maharaja of Patiala, in a special order that was placed in 1925 in Paris and completed three years later. The Maharaja brought a trove of his traditional Indian jewels to Cartier, instructing the house to modernise them. The result was a magnificent ceremonial necklace with, at its centre, the 234-carat De Beers yellow diamond, believed to be the seventh-largest diamond of all time and surrounded by another 2,900 diamonds.

In 1947, the necklace vanished and in 1998, Éric Nussbaum, the former director of the Cartier Collection, discovered it in a poor state. Its restoration took Cartier’s artisans more than two years, with zirconia, white topazes, synthetic rubies, smoky quartz and citrines replacing the original gems. Tremendous efforts went into restoring the platinum chain necklaces, specifically that of the pendant that held the De Beers diamond. The necklace, as it now appears in the Cartier Collection, was shown in public for the first time in 2002.

CHAUMET: PERFECT PARURE

In the early 1800s, Chaumet and its founder Marie-Étienne Nitot were appointed as Napoleon Bonaparte’s official jeweller. Nitot would go on to design Napoleon’s coronation crown, sword hilt and many precious gifts for his first wife, Empress Joséphine, who would be known as Chaumet’s “first great client”.

The royal court’s ties with Nitot would continue even after Napoleon’s second marriage to Marie-Louise of Habsburg-Lorraine of Austria, the grand-niece of Marie-Antoinette. They married at the Louvre Chapel in 1810, when the Empress Marie-Louise received as gifts two elaborate sets of jewels, each comprising a tiara, a necklace, a pair of earrings and a comb. With Nitot’s desire to preserve a copy of these ceremonial parures, he made replicas – and this tiara is one of them. It’s part of the replica of the ruby and diamond parure that belonged to Empress Marie-Louise, which was made in gold, silver and set with white sapphires, zircons and garnets.

HARRY WINSTON: FATEFUL BEAUTY

As stunning and jaw-dropping though this 45.52-carat intense dark-blue Hope Diamond is, tragedy has befallen anyone who came to its possession. Smuggled out of India in 1642 and sold to Louis XIV 26 years later – when it was called the French Blue – it was worn once by the king, who died shortly thereafter. It then went to Louis XV, who never wore it but lent it to his mistress, Countess DuBarry, who was beheaded in the French Revolution (Marie Antoinette, who shared the same fate at the guillotine, was also believed to have worn it often).

The diamond then appeared in the collection of Henry Philip Hope, the stone’s namesake, in 1824, who had it set on a brooch and sometimes lent it to Louisa Beresford, wife of his brother Henry Thomas Hope, when she hosted society balls. Henry Philip Hope died in 1839 and his three heirs fought in court for a decade until his nephew Henry Hope acquired the gems, including the Hope Diamond. It was showcased in the Great Exhibition of London in 1851 and the Paris Exhibition of 1855, but was usually kept in a bank vault.

By the early 1900s, the Hope changed hands once more and was cut, re-cut and re-set time and again, with tragedy never far from it. It was owned by Evalyn Walsh MacLean, whose husband was implicated in the Teapot Dome government scandal and whose son was killed in a motor accident. Harry Winston acquired the Hope in 1949, and 10 years later donated the gem to the Smithsonian, where it resides to this day.

The post Incredible Stories of 6 Heritage Jewels You Might Not Know About appeared first on Prestige Online - Hong Kong.

Astounding gemstones and awe-inspiring craftsmanship notwithstanding, the story of heritage jewels is what make them the stuff of legends. Here are the tales of some of the most amazing heritage pieces and of their owners.

Jewellery pieces only truly come alive when they’re worn, and as they’re often inextricably connected to a particular owner, these precious objects are transformed and take on a persona of their own. When we admire heritage pieces from behind glass in museums or exhibitions, or perhaps placed on headless busts, their stories still resonate. One can almost hear the proclamations of a hopelessly smitten lover, or the chides of an insatiable woman, if not feel the unspeakable pain brought about by loss and tragedy. There exist many such storied relics, but here are a few that will surely compel you to explore more.

VAN CLEEF & ARPELS: UN-ZIPPED

Perhaps unknown to many, Van Cleef & Arpels’ famous Zip necklace was conceived on the suggestion of the Duchess of Windsor, formerly the American socialite Wallis Simpson, a big client of the house whose controversial love story and eventual marriage to Prince Edward of Great Britain – who in 1936 abdicated to marry “the woman I love” – were the stuff of legend. So too was her jewellery collection. The couple was known to have shared an incredible passion for jewellery; story has it that the
Duke would spend hours with Van Cleef & Arpels’ designers to develop
and customise jewels for the Duchess.

In the 1930s, after the Duchess of Windsor had just purchased an Elsa Schiaparelli piece that was fastened, for the first time in haute couture, with a zipper – then relegated mainly to utilitarian wear – she encouraged, or perhaps challenged, Renée Puissant, then artistic director at Van Cleef & Arpels, to create the Zip necklace, a piece designed to be worn either open around the neck, or closed, gracing the wrist as a bracelet. Made from yellow gold and diamonds mounted in platinum, the Zip took more than a decade to make and was only completed in 1951. The Duchess is believed never actually to have owned a Zip necklace herself – pundits say the wait might have been a tad too long – but she remained a huge fan of the French house, having owned many of its pieces.

BULGARI: A LOVE SET IN STONE

It’s remiss not to include Elizabeth Taylor’s renowned emerald necklace and brooch suite by Bulgari when speaking about jewellery of incredible provenance. As the story goes, the actor Richard Burton fell in love with Taylor after filming the first scene of Cleopatra together – naturally – and the jewels just poured thereafter. Burton famously said, “the only word Elizabeth knows in Italian is Bulgari” and, unsurprisingly, Bulgari’s Via Condotti store was one of the couple’s favourite venues in Rome.

Burton gave Taylor the spectacular Bulgari necklace mounted with 16 step-cut octagonal Colombian emeralds of 60.50 carats, each surrounded by brilliant-cut and pear-shaped diamonds, and on their engagement he presented her with this 23.44-carat step-cut Colombian emerald brooch, which she wore on their wedding day in 1964. In 2011, Christie’s held a sale of Taylor’s private collection, which set records as the most valuable jewellery in auction history. From this sale and other private transactions, the brand re-acquired nine of its pieces – one of which is this brooch.

BOUCHERON: A QUESTION OF TASTE

The Grand Duke Alexei Alexandrovich of Russia, a devoted client of Boucheron, is known to be the first owner of the Point d’Interrogation (or, as most of us know it, the Question Mark), an astounding emerald and diamond peacock-feather necklace. Designed by Frédéric Boucheron and the head of his workshop, Paul Legrand, the necklace was referred to, for obvious reasons, as the Question Mark: it was wrapped around the wearer’s neck without the need to be fastened.

Although this modern, asymmetrical piece formed part of the Boucheron collection that won the Gold Medal at the World’s Fair in 1889, the Grand Duke already had his eyes on it even before it was presented to the world, having seen it in a sketch in 1879. He bought it a few years later, in 1883.

CARTIER: EPIC PROPORTIONS

This extravagant necklace was made for Sir Bhupindra Singh, the Maharaja of Patiala, in a special order that was placed in 1925 in Paris and completed three years later. The Maharaja brought a trove of his traditional Indian jewels to Cartier, instructing the house to modernise them. The result was a magnificent ceremonial necklace with, at its centre, the 234-carat De Beers yellow diamond, believed to be the seventh-largest diamond of all time and surrounded by another 2,900 diamonds.

In 1947, the necklace vanished and in 1998, Éric Nussbaum, the former director of the Cartier Collection, discovered it in a poor state. Its restoration took Cartier’s artisans more than two years, with zirconia, white topazes, synthetic rubies, smoky quartz and citrines replacing the original gems. Tremendous efforts went into restoring the platinum chain necklaces, specifically that of the pendant that held the De Beers diamond. The necklace, as it now appears in the Cartier Collection, was shown in public for the first time in 2002.

CHAUMET: PERFECT PARURE

In the early 1800s, Chaumet and its founder Marie-Étienne Nitot were appointed as Napoleon Bonaparte’s official jeweller. Nitot would go on to design Napoleon’s coronation crown, sword hilt and many precious gifts for his first wife, Empress Joséphine, who would be known as Chaumet’s “first great client”.

The royal court’s ties with Nitot would continue even after Napoleon’s second marriage to Marie-Louise of Habsburg-Lorraine of Austria, the grand-niece of Marie-Antoinette. They married at the Louvre Chapel in 1810, when the Empress Marie-Louise received as gifts two elaborate sets of jewels, each comprising a tiara, a necklace, a pair of earrings and a comb. With Nitot’s desire to preserve a copy of these ceremonial parures, he made replicas – and this tiara is one of them. It’s part of the replica of the ruby and diamond parure that belonged to Empress Marie-Louise, which was made in gold, silver and set with white sapphires, zircons and garnets.

HARRY WINSTON: FATEFUL BEAUTY

As stunning and jaw-dropping though this 45.52-carat intense dark-blue Hope Diamond is, tragedy has befallen anyone who came to its possession. Smuggled out of India in 1642 and sold to Louis XIV 26 years later – when it was called the French Blue – it was worn once by the king, who died shortly thereafter. It then went to Louis XV, who never wore it but lent it to his mistress, Countess DuBarry, who was beheaded in the French Revolution (Marie Antoinette, who shared the same fate at the guillotine, was also believed to have worn it often).

The diamond then appeared in the collection of Henry Philip Hope, the stone’s namesake, in 1824, who had it set on a brooch and sometimes lent it to Louisa Beresford, wife of his brother Henry Thomas Hope, when she hosted society balls. Henry Philip Hope died in 1839 and his three heirs fought in court for a decade until his nephew Henry Hope acquired the gems, including the Hope Diamond. It was showcased in the Great Exhibition of London in 1851 and the Paris Exhibition of 1855, but was usually kept in a bank vault.

By the early 1900s, the Hope changed hands once more and was cut, re-cut and re-set time and again, with tragedy never far from it. It was owned by Evalyn Walsh MacLean, whose husband was implicated in the Teapot Dome government scandal and whose son was killed in a motor accident. Harry Winston acquired the Hope in 1949, and 10 years later donated the gem to the Smithsonian, where it resides to this day.

The post Incredible Stories of 6 Heritage Jewels You Might Not Know About appeared first on Prestige Online - Hong Kong.

Astounding gemstones and awe-inspiring craftsmanship notwithstanding, the story of heritage jewels is what make them the stuff of legends. Here are the tales of some of the most amazing heritage pieces and of their owners.

Jewellery pieces only truly come alive when they’re worn, and as they’re often inextricably connected to a particular owner, these precious objects are transformed and take on a persona of their own. When we admire heritage pieces from behind glass in museums or exhibitions, or perhaps placed on headless busts, their stories still resonate. One can almost hear the proclamations of a hopelessly smitten lover, or the chides of an insatiable woman, if not feel the unspeakable pain brought about by loss and tragedy. There exist many such storied relics, but here are a few that will surely compel you to explore more.

VAN CLEEF & ARPELS: UN-ZIPPED

Perhaps unknown to many, Van Cleef & Arpels’ famous Zip necklace was conceived on the suggestion of the Duchess of Windsor, formerly the American socialite Wallis Simpson, a big client of the house whose controversial love story and eventual marriage to Prince Edward of Great Britain – who in 1936 abdicated to marry “the woman I love” – were the stuff of legend. So too was her jewellery collection. The couple was known to have shared an incredible passion for jewellery; story has it that the
Duke would spend hours with Van Cleef & Arpels’ designers to develop
and customise jewels for the Duchess.

In the 1930s, after the Duchess of Windsor had just purchased an Elsa Schiaparelli piece that was fastened, for the first time in haute couture, with a zipper – then relegated mainly to utilitarian wear – she encouraged, or perhaps challenged, Renée Puissant, then artistic director at Van Cleef & Arpels, to create the Zip necklace, a piece designed to be worn either open around the neck, or closed, gracing the wrist as a bracelet. Made from yellow gold and diamonds mounted in platinum, the Zip took more than a decade to make and was only completed in 1951. The Duchess is believed never actually to have owned a Zip necklace herself – pundits say the wait might have been a tad too long – but she remained a huge fan of the French house, having owned many of its pieces.

BULGARI: A LOVE SET IN STONE

It’s remiss not to include Elizabeth Taylor’s renowned emerald necklace and brooch suite by Bulgari when speaking about jewellery of incredible provenance. As the story goes, the actor Richard Burton fell in love with Taylor after filming the first scene of Cleopatra together – naturally – and the jewels just poured thereafter. Burton famously said, “the only word Elizabeth knows in Italian is Bulgari” and, unsurprisingly, Bulgari’s Via Condotti store was one of the couple’s favourite venues in Rome.

Burton gave Taylor the spectacular Bulgari necklace mounted with 16 step-cut octagonal Colombian emeralds of 60.50 carats, each surrounded by brilliant-cut and pear-shaped diamonds, and on their engagement he presented her with this 23.44-carat step-cut Colombian emerald brooch, which she wore on their wedding day in 1964. In 2011, Christie’s held a sale of Taylor’s private collection, which set records as the most valuable jewellery in auction history. From this sale and other private transactions, the brand re-acquired nine of its pieces – one of which is this brooch.

BOUCHERON: A QUESTION OF TASTE

The Grand Duke Alexei Alexandrovich of Russia, a devoted client of Boucheron, is known to be the first owner of the Point d’Interrogation (or, as most of us know it, the Question Mark), an astounding emerald and diamond peacock-feather necklace. Designed by Frédéric Boucheron and the head of his workshop, Paul Legrand, the necklace was referred to, for obvious reasons, as the Question Mark: it was wrapped around the wearer’s neck without the need to be fastened.

Although this modern, asymmetrical piece formed part of the Boucheron collection that won the Gold Medal at the World’s Fair in 1889, the Grand Duke already had his eyes on it even before it was presented to the world, having seen it in a sketch in 1879. He bought it a few years later, in 1883.

CARTIER: EPIC PROPORTIONS

This extravagant necklace was made for Sir Bhupindra Singh, the Maharaja of Patiala, in a special order that was placed in 1925 in Paris and completed three years later. The Maharaja brought a trove of his traditional Indian jewels to Cartier, instructing the house to modernise them. The result was a magnificent ceremonial necklace with, at its centre, the 234-carat De Beers yellow diamond, believed to be the seventh-largest diamond of all time and surrounded by another 2,900 diamonds.

In 1947, the necklace vanished and in 1998, Éric Nussbaum, the former director of the Cartier Collection, discovered it in a poor state. Its restoration took Cartier’s artisans more than two years, with zirconia, white topazes, synthetic rubies, smoky quartz and citrines replacing the original gems. Tremendous efforts went into restoring the platinum chain necklaces, specifically that of the pendant that held the De Beers diamond. The necklace, as it now appears in the Cartier Collection, was shown in public for the first time in 2002.

CHAUMET: PERFECT PARURE

In the early 1800s, Chaumet and its founder Marie-Étienne Nitot were appointed as Napoleon Bonaparte’s official jeweller. Nitot would go on to design Napoleon’s coronation crown, sword hilt and many precious gifts for his first wife, Empress Joséphine, who would be known as Chaumet’s “first great client”.

The royal court’s ties with Nitot would continue even after Napoleon’s second marriage to Marie-Louise of Habsburg-Lorraine of Austria, the grand-niece of Marie-Antoinette. They married at the Louvre Chapel in 1810, when the Empress Marie-Louise received as gifts two elaborate sets of jewels, each comprising a tiara, a necklace, a pair of earrings and a comb. With Nitot’s desire to preserve a copy of these ceremonial parures, he made replicas – and this tiara is one of them. It’s part of the replica of the ruby and diamond parure that belonged to Empress Marie-Louise, which was made in gold, silver and set with white sapphires, zircons and garnets.

HARRY WINSTON: FATEFUL BEAUTY

As stunning and jaw-dropping though this 45.52-carat intense dark-blue Hope Diamond is, tragedy has befallen anyone who came to its possession. Smuggled out of India in 1642 and sold to Louis XIV 26 years later – when it was called the French Blue – it was worn once by the king, who died shortly thereafter. It then went to Louis XV, who never wore it but lent it to his mistress, Countess DuBarry, who was beheaded in the French Revolution (Marie Antoinette, who shared the same fate at the guillotine, was also believed to have worn it often).

The diamond then appeared in the collection of Henry Philip Hope, the stone’s namesake, in 1824, who had it set on a brooch and sometimes lent it to Louisa Beresford, wife of his brother Henry Thomas Hope, when she hosted society balls. Henry Philip Hope died in 1839 and his three heirs fought in court for a decade until his nephew Henry Hope acquired the gems, including the Hope Diamond. It was showcased in the Great Exhibition of London in 1851 and the Paris Exhibition of 1855, but was usually kept in a bank vault.

By the early 1900s, the Hope changed hands once more and was cut, re-cut and re-set time and again, with tragedy never far from it. It was owned by Evalyn Walsh MacLean, whose husband was implicated in the Teapot Dome government scandal and whose son was killed in a motor accident. Harry Winston acquired the Hope in 1949, and 10 years later donated the gem to the Smithsonian, where it resides to this day.

The post Incredible Stories of 6 Heritage Jewels You Might Not Know About appeared first on Prestige Online - Hong Kong.

Having two young children at home, Christmas is a big occasion in our household. We'd usually celebrate the holidays in the US but this year, as many families are, we're staying put. We've dusted the Christmas decorations and lights and they're all decked and lit up. And as is our tradition, we'd have the girls make a wish list and it's worked wonderfully so far. One would argue it ruins the element of surprise but these days, I'd much rather get them gifts they really want. Interestingly, I've never really thought of making one myself, nor has it ever been suggested - note to the hubby . So it was a delight making my 2020 Christmas wish list, which contained just that right amount of bling, items that are practical - and not quite so, as well a few things I came across I'd also love to gift the special people in my life.

Sauvereign

You got me at bespoke. Formerly R. Sanderson, Sauvereign provides a different retail experience where you can customise your shoes and in this case, your bag. My favourite feature? The “GEM” which you can pick to your preference to be used as the buckle that features a gold leaf - in real gold, mind you - intertwined with colours and dashed with gold powder. 

Van Cleef & Arpels

The French maison had just released its new Winter collection called Rose de Noël, which is ultra-feminine and dainty but can totally rock a jeans and white T-shirt ensemble. Crafted in n yellow gold, white mother-of-pearl and diamonds this pair can easily be your everyday go-to accessory.

Hermès

I’ve always preferred dressing in block colours, and often in dark shades so what better way to get a pop of colour than with this Hermès silk Exposition Universelle scarf designed by Jan Bajtlik. Surely it’s a fine, pastel-perfect accessory I’d love to get this Christmas.

Bvlgari

I saw this Bvlgari Serpenti diamond ring on a friend and it was quite a sight. I could not tear my eyes from it and I instantly knew it was gonna make it to my 2020 Christmas wish list. I suppose with anything Bulgari, that is always the point, is it? While it’s definitely a bold piece, it’s one you can pull off wearing casual clothes, and of course, needless to say also be perfect for that fancy night out. I also like that the ring has several articulations that make it expandable and really comfortable to wear.

Montblanc

I’m old school and still prefer jotting things down so I’ve included in my wish list Montblanc’s notebook with the Heritage Egyptomania cover - will you look at that brilliant colour combination - which is made with calfskin Saffiano leather and digital print pattern.

H. Moser & Cie

While I’m usually partial to watches that fit my wrist to a T, I will make an exception for H. Moser & Cie’s Streamliner watch. The watch is every bit sleek, reminiscent of 1920s locomotive designs. Its minimalist and steely appearance is nicely countered by the Funky Blue fumé dial.

Tiffany & Co

I don’t have a dog, not yet anyway, but I have many friends that do so when I came across this Tiffany & Co suite of dog accessories, which includes a leather pet collar, bowl in bone china, and a collar charm, I couldn’t help get that furry feeling.

Louis Vuitton

These Louis Vuitton Vivienne 4 Seasons goblets made from white porcelain and painted with LV’s Vivienne mascots in different locations around the world is just something I’d love to have on the table setting - and isn’t the silver-colour rim detail such a classy touch?

Dior

And for my 7-year-old girl who loves anything and everything feminine, who has included in her wish list "high heel shoos" this pair of Dior patent calfskin Miss B ballet flats with a woven ribbon is just perfect. I can imagine it will look just as gorgeous with one of her puffy party dresses or with trousers matched with a dainty pea coat.

Cartier

To keep my work desk organised but still decorative - and festive, I'd love this Cartier Panthère de Cartier trinket tray, where I can stash everything from my Airpod case, pens, loose change and accessories.

Lalique

Having a full household, there is almost always cooking going on so we usually have scented candles lit to counter the smell, and indeed, it's just such a wonderful, relaxing aroma to linger about so this Lalique La Nuit candle caught my fancy and definitely deserves a spot in my 2020 Christmas wish list, and it burns for as long as 60 hours. And it certainly does not hurt that it looks beautiful on the coffee table next to your books and ornaments.

The post 2020 Christmas Wish Lists: Charlene’s Picks appeared first on Prestige Online - Hong Kong.

Having two young children at home, Christmas is a big occasion in our household. We'd usually celebrate the holidays in the US but this year, as many families are, we're staying put. We've dusted the Christmas decorations and lights and they're all decked and lit up. And as is our tradition, we'd have the girls make a wish list and it's worked wonderfully so far. One would argue it ruins the element of surprise but these days, I'd much rather get them gifts they really want. Interestingly, I've never really thought of making one myself, nor has it ever been suggested - note to the hubby . So it was a delight making my 2020 Christmas wish list, which contained just that right amount of bling, items that are practical - and not quite so, as well a few things I came across I'd also love to gift the special people in my life.

Sauvereign

You got me at bespoke. Formerly R. Sanderson, Sauvereign provides a different retail experience where you can customise your shoes and in this case, your bag. My favourite feature? The “GEM” which you can pick to your preference to be used as the buckle that features a gold leaf - in real gold, mind you - intertwined with colours and dashed with gold powder. 

Van Cleef & Arpels

The French maison had just released its new Winter collection called Rose de Noël, which is ultra-feminine and dainty but can totally rock a jeans and white T-shirt ensemble. Crafted in n yellow gold, white mother-of-pearl and diamonds this pair can easily be your everyday go-to accessory.

Hermès

I’ve always preferred dressing in block colours, and often in dark shades so what better way to get a pop of colour than with this Hermès silk Exposition Universelle scarf designed by Jan Bajtlik. Surely it’s a fine, pastel-perfect accessory I’d love to get this Christmas.

Bvlgari

I saw this Bvlgari Serpenti diamond ring on a friend and it was quite a sight. I could not tear my eyes from it and I instantly knew it was gonna make it to my 2020 Christmas wish list. I suppose with anything Bulgari, that is always the point, is it? While it’s definitely a bold piece, it’s one you can pull off wearing casual clothes, and of course, needless to say also be perfect for that fancy night out. I also like that the ring has several articulations that make it expandable and really comfortable to wear.

Montblanc

I’m old school and still prefer jotting things down so I’ve included in my wish list Montblanc’s notebook with the Heritage Egyptomania cover - will you look at that brilliant colour combination - which is made with calfskin Saffiano leather and digital print pattern.

H. Moser & Cie

While I’m usually partial to watches that fit my wrist to a T, I will make an exception for H. Moser & Cie’s Streamliner watch. The watch is every bit sleek, reminiscent of 1920s locomotive designs. Its minimalist and steely appearance is nicely countered by the Funky Blue fumé dial.

Tiffany & Co

I don’t have a dog, not yet anyway, but I have many friends that do so when I came across this Tiffany & Co suite of dog accessories, which includes a leather pet collar, bowl in bone china, and a collar charm, I couldn’t help get that furry feeling.

Louis Vuitton

These Louis Vuitton Vivienne 4 Seasons goblets made from white porcelain and painted with LV’s Vivienne mascots in different locations around the world is just something I’d love to have on the table setting - and isn’t the silver-colour rim detail such a classy touch?

Dior

And for my 7-year-old girl who loves anything and everything feminine, who has included in her wish list "high heel shoos" this pair of Dior patent calfskin Miss B ballet flats with a woven ribbon is just perfect. I can imagine it will look just as gorgeous with one of her puffy party dresses or with trousers matched with a dainty pea coat.

Cartier

To keep my work desk organised but still decorative - and festive, I'd love this Cartier Panthère de Cartier trinket tray, where I can stash everything from my Airpod case, pens, loose change and accessories.

Lalique

Having a full household, there is almost always cooking going on so we usually have scented candles lit to counter the smell, and indeed, it's just such a wonderful, relaxing aroma to linger about so this Lalique La Nuit candle caught my fancy and definitely deserves a spot in my 2020 Christmas wish list, and it burns for as long as 60 hours. And it certainly does not hurt that it looks beautiful on the coffee table next to your books and ornaments.

The post 2020 Christmas Wish Lists: Charlene’s Picks appeared first on Prestige Online - Hong Kong.

The enchanting spirit of Cartier extends beyond its magnificent jewels and watches into the everyday life.

“In fact, we do not only produce luxury jewellery. I would say, monsieur, that jewellery like ours is as capable of adorning a woman’s shoulders with a dazzling necklace as it is of filling her handbag with a powder compact, a mirror, a small comb and even business cards, all stamped with the same seal of originality and art,” says Louis Cartier in a press interview.

While the legendary maison needs no introduction, especially to savvy jewellery and watch collectors, its history in art de vivre by comparison is little-known but no less fascinating. From play to travel, tableware to the art of hospitality, Cartier has, for over a century, been bringing style and savoir faire to enliven everyday objects.

[caption id="attachment_212697" align="aligncenter" width="781"] Chick, Cartier circa 1906.[/caption]

After all, the art of fine jewellery is closely intertwined with the art of creating precious objects that accompany the upper crust during the turn of the century. From the very beginning, alongside its jewels, Cartier had crafted ornaments in silver, bronze, ivory, porcelain, as well as carved hard-stone objects for a clientele that included Empress Eugénie, the Prince of Wagram and the Count of Paris. “Since 1880, Cartier has been interested in everyday objects,” says Pierre Rainero, Director of Image, Style and Heritage at Cartier International.

The house’s passion for art de vivre deepened during the 1900 Universal Exhibition, when Louis and Pierre Cartier discovered the work of guilloché enamel by the Russian goldsmith Peter Carl Fabergé. Inspired by his engraving technique and moiré (silk) enamel style, Louis Cartier developed his own enamel colour palette with contrasting hues of blue and mauve or blue and green to decorate frames, bells and powder cases.

During his travels through Russia in 1904, Pierre Cartier discovered artisans who carved small hard-stone animals that were hugely popular in the tzar’s empire. They began to supply Cartier with precious ornaments in agate, quartz, rhodolite, purpurin and obsidian that the house further interpreted with realism and enhanced with precious gemstones. From a winged procession of ibises, owls, cranes and lovebirds to pigs, bulldogs and mice, the maison inventory had counted 200 such creations in 1907.

[caption id="attachment_212699" align="aligncenter" width="1024"] Backgammon game set, Cartier circa 1930.[/caption]

Dedicating itself to developing more accessible accessories and objects during the post-war boom, Cartier created the S for Silver department entrusted to Jeanne Toussaint in 1925. Ordinary, functional objects were made precious and desirable – a gold pocket corkscrew, a finely decorated picnic set or an ingenious silver cocktail shaker which, when rotated, revealed recipes in its small window apertures.

These items contributed to the new art of luxury travel where form, function and ergonomics converged. Making it happen was an array of artisans, including porcelain makers, goldsmiths, leather crafters and crystal workers. During that era, Cartier objects covered every aspect of the art de vivre, from the luxurious detailing of tableware to reimagining games with a sophisticated eye.

“These practical, playful, joyful and elegant items were perfectly in tune with the celebratory spirit and chic portability of the Café Society in the 1930s. The materials used to create these precious wood, porcelain or enamel objects met the criteria of elegance and durability, with today’s collections continuing the Cartier tradition,” adds Rainero.

[gallery ids="212709,212700,212701,212702,212703,212704,212705,212706,212707,212708"]

The maison’s spirit endures today through an elegant and beautifully curated selection of daily items. Says Arnaud Carrez, International Marketing and Communications Director of Cartier International, “Linked by their emblematic codes, like the panther or the Cartier box, they echo the House’s most iconic signature features. These stylish objects have that extra something to bring beauty into your life.”

There are four key collections centred around the theme of bringing joy to oneself and others: Decoration, writing, childhood and games. The home décor range spans porcelain trays and vases to lacquered wood music boxes and jewellery cases that are inscribed with the panther, double C or ribbon motifs. The writing range, showcasing notebooks, Santos de Cartier pens and other stationery, is an attractive proposition to revive the lost art of penmanship.

The Games range flaunts a solitaire set made of corian and glass, and a box of whimsically decorated wooden blocks. The Baby range boasts animal-motif gifts in sterling silver, such as rabbit ear-shaped spoons and a rattle, as well as a cashmere blanket. In addition, Cartier’s festive offerings of snowglobes and Christmas tree ornaments are simply too exquisite for the lavish gifter to ignore.

This story first appeared on Prestige Singapore

(All images: Cartier)

The post We Delve Into Cartier’s Fascinating History in Art De Vivre and Everyday Objects appeared first on Prestige Online - Hong Kong.

The enchanting spirit of Cartier extends beyond its magnificent jewels and watches into the everyday life.

“In fact, we do not only produce luxury jewellery. I would say, monsieur, that jewellery like ours is as capable of adorning a woman’s shoulders with a dazzling necklace as it is of filling her handbag with a powder compact, a mirror, a small comb and even business cards, all stamped with the same seal of originality and art,” says Louis Cartier in a press interview.

While the legendary maison needs no introduction, especially to savvy jewellery and watch collectors, its history in art de vivre by comparison is little-known but no less fascinating. From play to travel, tableware to the art of hospitality, Cartier has, for over a century, been bringing style and savoir faire to enliven everyday objects.

[caption id="attachment_212697" align="aligncenter" width="781"] Chick, Cartier circa 1906.[/caption]

After all, the art of fine jewellery is closely intertwined with the art of creating precious objects that accompany the upper crust during the turn of the century. From the very beginning, alongside its jewels, Cartier had crafted ornaments in silver, bronze, ivory, porcelain, as well as carved hard-stone objects for a clientele that included Empress Eugénie, the Prince of Wagram and the Count of Paris. “Since 1880, Cartier has been interested in everyday objects,” says Pierre Rainero, Director of Image, Style and Heritage at Cartier International.

The house’s passion for art de vivre deepened during the 1900 Universal Exhibition, when Louis and Pierre Cartier discovered the work of guilloché enamel by the Russian goldsmith Peter Carl Fabergé. Inspired by his engraving technique and moiré (silk) enamel style, Louis Cartier developed his own enamel colour palette with contrasting hues of blue and mauve or blue and green to decorate frames, bells and powder cases.

During his travels through Russia in 1904, Pierre Cartier discovered artisans who carved small hard-stone animals that were hugely popular in the tzar’s empire. They began to supply Cartier with precious ornaments in agate, quartz, rhodolite, purpurin and obsidian that the house further interpreted with realism and enhanced with precious gemstones. From a winged procession of ibises, owls, cranes and lovebirds to pigs, bulldogs and mice, the maison inventory had counted 200 such creations in 1907.

[caption id="attachment_212699" align="aligncenter" width="1024"] Backgammon game set, Cartier circa 1930.[/caption]

Dedicating itself to developing more accessible accessories and objects during the post-war boom, Cartier created the S for Silver department entrusted to Jeanne Toussaint in 1925. Ordinary, functional objects were made precious and desirable – a gold pocket corkscrew, a finely decorated picnic set or an ingenious silver cocktail shaker which, when rotated, revealed recipes in its small window apertures.

These items contributed to the new art of luxury travel where form, function and ergonomics converged. Making it happen was an array of artisans, including porcelain makers, goldsmiths, leather crafters and crystal workers. During that era, Cartier objects covered every aspect of the art de vivre, from the luxurious detailing of tableware to reimagining games with a sophisticated eye.

“These practical, playful, joyful and elegant items were perfectly in tune with the celebratory spirit and chic portability of the Café Society in the 1930s. The materials used to create these precious wood, porcelain or enamel objects met the criteria of elegance and durability, with today’s collections continuing the Cartier tradition,” adds Rainero.

[gallery ids="212709,212700,212701,212702,212703,212704,212705,212706,212707,212708"]

The maison’s spirit endures today through an elegant and beautifully curated selection of daily items. Says Arnaud Carrez, International Marketing and Communications Director of Cartier International, “Linked by their emblematic codes, like the panther or the Cartier box, they echo the House’s most iconic signature features. These stylish objects have that extra something to bring beauty into your life.”

There are four key collections centred around the theme of bringing joy to oneself and others: Decoration, writing, childhood and games. The home décor range spans porcelain trays and vases to lacquered wood music boxes and jewellery cases that are inscribed with the panther, double C or ribbon motifs. The writing range, showcasing notebooks, Santos de Cartier pens and other stationery, is an attractive proposition to revive the lost art of penmanship.

The Games range flaunts a solitaire set made of corian and glass, and a box of whimsically decorated wooden blocks. The Baby range boasts animal-motif gifts in sterling silver, such as rabbit ear-shaped spoons and a rattle, as well as a cashmere blanket. In addition, Cartier’s festive offerings of snowglobes and Christmas tree ornaments are simply too exquisite for the lavish gifter to ignore.

This story first appeared on Prestige Singapore

(All images: Cartier)

The post We Delve Into Cartier’s Fascinating History in Art De Vivre and Everyday Objects appeared first on Prestige Online - Hong Kong.

The enchanting spirit of Cartier extends beyond its magnificent jewels and watches into the everyday life.

“In fact, we do not only produce luxury jewellery. I would say, monsieur, that jewellery like ours is as capable of adorning a woman’s shoulders with a dazzling necklace as it is of filling her handbag with a powder compact, a mirror, a small comb and even business cards, all stamped with the same seal of originality and art,” says Louis Cartier in a press interview.

While the legendary maison needs no introduction, especially to savvy jewellery and watch collectors, its history in art de vivre by comparison is little-known but no less fascinating. From play to travel, tableware to the art of hospitality, Cartier has, for over a century, been bringing style and savoir faire to enliven everyday objects.

[caption id="attachment_212697" align="aligncenter" width="781"] Chick, Cartier circa 1906.[/caption]

After all, the art of fine jewellery is closely intertwined with the art of creating precious objects that accompany the upper crust during the turn of the century. From the very beginning, alongside its jewels, Cartier had crafted ornaments in silver, bronze, ivory, porcelain, as well as carved hard-stone objects for a clientele that included Empress Eugénie, the Prince of Wagram and the Count of Paris. “Since 1880, Cartier has been interested in everyday objects,” says Pierre Rainero, Director of Image, Style and Heritage at Cartier International.

The house’s passion for art de vivre deepened during the 1900 Universal Exhibition, when Louis and Pierre Cartier discovered the work of guilloché enamel by the Russian goldsmith Peter Carl Fabergé. Inspired by his engraving technique and moiré (silk) enamel style, Louis Cartier developed his own enamel colour palette with contrasting hues of blue and mauve or blue and green to decorate frames, bells and powder cases.

During his travels through Russia in 1904, Pierre Cartier discovered artisans who carved small hard-stone animals that were hugely popular in the tzar’s empire. They began to supply Cartier with precious ornaments in agate, quartz, rhodolite, purpurin and obsidian that the house further interpreted with realism and enhanced with precious gemstones. From a winged procession of ibises, owls, cranes and lovebirds to pigs, bulldogs and mice, the maison inventory had counted 200 such creations in 1907.

[caption id="attachment_212699" align="aligncenter" width="1024"] Backgammon game set, Cartier circa 1930.[/caption]

Dedicating itself to developing more accessible accessories and objects during the post-war boom, Cartier created the S for Silver department entrusted to Jeanne Toussaint in 1925. Ordinary, functional objects were made precious and desirable – a gold pocket corkscrew, a finely decorated picnic set or an ingenious silver cocktail shaker which, when rotated, revealed recipes in its small window apertures.

These items contributed to the new art of luxury travel where form, function and ergonomics converged. Making it happen was an array of artisans, including porcelain makers, goldsmiths, leather crafters and crystal workers. During that era, Cartier objects covered every aspect of the art de vivre, from the luxurious detailing of tableware to reimagining games with a sophisticated eye.

“These practical, playful, joyful and elegant items were perfectly in tune with the celebratory spirit and chic portability of the Café Society in the 1930s. The materials used to create these precious wood, porcelain or enamel objects met the criteria of elegance and durability, with today’s collections continuing the Cartier tradition,” adds Rainero.

[gallery ids="212709,212700,212701,212702,212703,212704,212705,212706,212707,212708"]

The maison’s spirit endures today through an elegant and beautifully curated selection of daily items. Says Arnaud Carrez, International Marketing and Communications Director of Cartier International, “Linked by their emblematic codes, like the panther or the Cartier box, they echo the House’s most iconic signature features. These stylish objects have that extra something to bring beauty into your life.”

There are four key collections centred around the theme of bringing joy to oneself and others: Decoration, writing, childhood and games. The home décor range spans porcelain trays and vases to lacquered wood music boxes and jewellery cases that are inscribed with the panther, double C or ribbon motifs. The writing range, showcasing notebooks, Santos de Cartier pens and other stationery, is an attractive proposition to revive the lost art of penmanship.

The Games range flaunts a solitaire set made of corian and glass, and a box of whimsically decorated wooden blocks. The Baby range boasts animal-motif gifts in sterling silver, such as rabbit ear-shaped spoons and a rattle, as well as a cashmere blanket. In addition, Cartier’s festive offerings of snowglobes and Christmas tree ornaments are simply too exquisite for the lavish gifter to ignore.

This story first appeared on Prestige Singapore

(All images: Cartier)

The post We Delve Into Cartier’s Fascinating History in Art De Vivre and Everyday Objects appeared first on Prestige Online - Hong Kong.