Celebrity Life

The Alhambra is one-of-a-kind jewellery that’s instantly recognisable on its own, sans branding and logo. The motif is ancient, redolent of Gothic architecture, columns and arches, but is now the prerogative of Van Cleef & Arpels, ever since the first sautoir necklace with the quatrefoil design made its way to the house in 1968.

Paying tribute to more than half a century of the Alhambra and its emblematic gold crafts, Van Cleef & Arpels partnered with Korean artistic director Younghee Suh. Through a series of poetic photographs that showcase the new collection with handmade hanji paper, Suh highlights the radiant guilloché and the ever-charming golden beads of the Alhambra collection.

The Origins of the Alhambra

“To have luck, you have to believe in luck,” was a favourite saying of Jacques Arpels, nephew of the maison’s co-founder Estelle Arpels. But merely believing in it might not be enough for some. The French have something they call a porte-bonheur or luck-carrier, a talisman or lucky charm that acts as a magnet to attract good fortune to the wearer.

Jacques Arpels believed strongly in the talismanic powers of the porte-bonheur. A born collector, he’d gather four-leaf clovers from the garden of his house in Germigny-l’Évêque and present them to his staff, along with the poem Don’t Quit, believed to have been written by the American John Greenleaf Whittier (1807-1892), as an encouragement for them never to give up hope. The four-leaf-clover motif endured, making its first appearance in Van Cleef & Arpels’ records in the Roaring Twenties.

But the Alhambra was born in 1968. It was a somewhat ordinary birth – the pendant that bore the name was a small four-petaled object in plain gold for a client of no great importance. But with its name, Alhambra, it would soon become one of the world’s most famous and most recognisable pieces of jewellery.

“The Alhambra long necklace captured the spirit of the age and introduced new ways of wearing jewels in everyday life,” says Nicolas Bos, president and CEO of Van Cleef & Arpels. “Fifty years later, it stands as a reference that’s profoundly influenced the history of jewellery.”

The quatrefoil shape, like the four-leaf clover with which Jacques Arpels was so infatuated, was among the easy-to-wear pieces that were offered in the Paris la Boutique range, which also included Van Cleef & Arpels’ legendary animal clips and Philippine rings, bangles of hard stone or coral set with diamonds at their centres.

The yellow-gold model of 1968 quickly gave way to bold combinations of materials – yellow, white, and rose gold – adorned with coloured gemstones, diamonds and natural materials. The Alhambra, with its fluid silhouettes and variations, was the fashion item of the ’60s and ’70s. Jewellery had a talismanic quality to it, as a 1977 advertisement from this period would show: “At la Boutique Van Cleef & Arpels, 22 Place Vendôme, you will find sensitive jewels, tender jewels, meaningful jewels. And faithful jewels that will never leave you.”

Alhambra and guillochage

In 2018, the Alhambra was given a new treatment. Guillochage, a machine-cutting technique used to adorn watch dials in the 1910s, and also boxes and minaudières in the 1930s, made its way to the Alhambra collection for the first time. Hand-guillochage is a centuries-old technique, in which craftsmen repeatedly etch lines and miniature shapes to form geometric motifs on the surface of a watch dial or piece of jewellery – a skill requiring the deepest concentration, patience and deft hands.

For the Alhambra, Van Cleef & Arpels’ craftsmen make shallow incisions that radiate from the centre like sun rays, endowing the surface of the four-leaf clover with a subtle relief effect that plays with the light when the wearer moves. The golden pearls that surround the quatrefoil design are delicate and smooth, the monochromatic colour tones adding just a hint of textural contrast to the jewellery piece.

Younghee Suh's Inspired Art

When Suh saw the guilloché Alhambra pendants, she was immediately inspired by its distinct and uniform edged lines, making a connection between the sunray motif with a monochromatic style of art popularised in Korea by an artist named Lee Ufan.

“Lee, the master of this art, is known for using countless dots or dotted lines on hanji (traditional Korean paper). Symbolising the relationship between space and time, these motifs reminded me of the guilloché pattern,” says Suh. “The maison’s guilloché technique creates uniform lines with exact repetitive spacing between them, highlighting the elegant flow of light reflection, just like rays of sunlight.

“I also used hanji paper for the decor, like many monochromatic artists, along with the clustered and scattered dots to complete the pattern. It expresses the splendid radiance of the guilloché Alhambra creations,” says Suh.

Two exclusive images shared with this publication depict how the Alhambra jewellery shines on top of the hanji paper that Suh has delicately folded to depict the guilloché pattern and the shape of the jewellery. In
one, the Vintage Alhambra 20-motif long necklace in guilloché yellow gold and diamonds is coiled; Suh mirrors its beauty on paper with a scattering of golden beads that depict each of the 20 quatrefoil motifs. In the other, the precise etched lines of the guilloché pattern are mimicked on the paper in careful detail. A dazzling combination of paper and gold, beautifully paying tribute to more than 50 years of the Alhambra.

The post Younghee Suh Transforms Alhambra Jewellery Into Art appeared first on Prestige Online - Hong Kong.

Van Cleef & Arpels is and always has been unapologetically romantic – an approach that seeps even into the oft-bravado world of high watchmaking. We rediscover the house’s enduring dance with complications and poetry through its new Lady Arpels Ballerines Musicales timepieces

The drapes part and ballerinas enter to fluid arabesques, grand jetés and elegant pirouettes, dancing to the music of Gabriel Fauré, Igor Stranvinsky and Pyotr Ilyich Tchaikovsky, then the drapes close. Such is the enchanting 20-second sequence you can play whenever and wherever you fancy, and it sits right on your wrist. Just like many of Van Cleef & Arpels’ timepieces, the Lady Arpels Ballerines Musicales is not meant merely to be worn but, rather, experienced and inevitably connect with.

[caption id="attachment_212784" align="aligncenter" width="2560"] Lady Arpels Ballerine Musicale Rubis[/caption]

The Lady Arpels Ballerines Musicales is Van Cleef & Arpels’ newest addition to its suite of Poetic Complications, which is inspired by one of the Arpels’ other loves: ballet. Louis Arpels was known to often walk to the Opéra Garner, a short distance from his Place Vendôme boutique, to see a ballet with his nephew Claude. Such was their love for the artform that in the early 1940s, by which time the family had moved to New York, Van Cleef & Arpels created its first ballerina clips, which today is one of the house’s most distinguishable designs.

Inspiration

This affinity with ballet only profoundly deepened as Claude met choreographer and co-founder of the New York City Ballet, George Balanchine, with whom he shared a passion not only for ballet but also for gems. This led to Balanchine producing a ballet called “Jewels”, which made its debut in 1967 in New York, with each of its three acts linked to a particular gemstone and composer – Emeralds set to the music of Fauré, Rubies to Stravinsky, and Diamonds for Tchaikovsky.

[caption id="attachment_212785" align="aligncenter" width="1707"] Lady Arpels Ballerine Musicale Diamant[/caption]

More than 50 years later, Van Cleef & Arpels revisits this ballet with magnificent timepieces that connoisseurs will find well worth perusing and, among those with a predilection for the finer things in life, owning. Each piece alludes to the three movements of Jewels: Lady Arpels Ballerine Musicale Émeraude with its green tones, Rubis in red, and finally Diamant comes in a combination of white, blue and golden hues. And on the upper crown of each creation, the stone it’s referenced to.

Just as in all its other creations, Van Cleef & Arpels always starts with the idea of a story it hopes to tell, from which the team endeavours to find the means to bring this tale to life. For this, it was a collaborative effort between expert watchmakers, musicians, enamellers, engravers and jewellers, whose fresh perspectives brought the idea to fruition.

Sight to behold

Aesthetically, the pieces are striking. At once you’re drawn to its baroque stylings. Upon closer inspection, you admire it for its beautiful intricacies, and from arm’s length, its imposing heft. These timepieces have been conceived as three-dimensional tableaux of an actual theatre stage, hence the multitude of details infused into them. For instance, the upper-dial, fully paved with diamonds, represents a grandiose chandelier and curtains, while the rotating disc features sculpted, engraved and hand-painted draperies revealing five ballerinas in miniature paintings, dancing to the music. And then there’s the combination of various crafts whose impeccable execution results in quite an enchanting scene. The beauty of it all is that the animation is on-demand.

[caption id="attachment_212786" align="aligncenter" width="1707"] An artisan handprints the ballerinas unto the dial[/caption]

To give birth to these timepieces, Van Cleef & Arpels worked with several watchmakers and craftsmen from different disciplines, including lapidaries, stone-setters, miniature painters and engravers. For the sound, they collaborated with concert musician, Michel Tirabosco, who brilliantly adapted and simplified the three composers’ music to just two instruments: the carillon and the music box, chosen to produce good quality sound – a real musicality, if you will, and a perfect pitch for the melodies.

Achieving musicality

Having these two instruments work together posed a tremendous challenge as they had to be carefully tuned, according to one of the experts involved in the project. An important consideration was that these musical pieces had to be complementary, producing a unique sound – and, indeed, the carillon provides sustained and rather low tones, while the music box plays the short and high tones.

[caption id="attachment_212787" align="aligncenter" width="1707"] The case demonstrates the house' high-jewellery setting techniques but was also designed so that the sound comes out beautifully[/caption]

It was also important that they were able to create a specific watch architecture that integrated high-jewellery setting techniques in such a way that the sound comes out beautifully, while also protecting the mechanism. The case of the watch was constructed such that the melody offered by the carillon and music box is amplified, transmitting it through a diamond-paved surface. To heighten the listening experience, each watch comes with a birchwood and walnut marquetry case that was developed alongside luthiers and acoustics experts and enriched with an electronic amplifier.

No stone left unturned

The technical complexity of these watches cannot be overstated: the project required seven years of research and development to resolve the issues surrounding a manual-winding mechanical movement and the on demand animation alone. And yes, the piece does tell the time, a function which – though fundamental to any watch – almost feels like a secondary requirement for this fascinating piece. In fact, it tells the time magnificently, through a retrograde function at the top of the dial, indicated by a star – in homage to the Paris Opera’s danseuses étoiles – demonstrating the passage of time on a graduated 12-hour scale.

[caption id="attachment_212788" align="aligncenter" width="1707"] Engraved bas-relief illustration at the back of the watch[/caption]

Turn the timepieces over and the storytelling continues with an engraved bas-relief illustration that portrays a ballerina dancing in front of the Van Cleef & Arpels’ Fifth Avenue boutique where Claude hosted Balanchine in 1966 for a private viewing of the maison’s creations. And there, Van Cleef & Arpels manages to demonstrate its prowess in jewellery and watchmaking, all while narrating a special love story between its founders and the world of ballet.

And as I immerse myself deeper into the world of this profoundly beautiful brand, I’m increasingly made aware that it exists in a field separate from those of other legacy houses. Van Cleef & Arpels embraces innovation without stripping its pieces of the romance and wonderment that only traditional savoir-faire and good old storytelling can bring. The maison manages to meld hopelessly romantic and sentimental tales into their pieces – unapologetically – but that never come across as contrived. And with its creations, there’s always a sense of novelty – and unpredictability – that can bring even the most cynical consumers to their knees. Now isn’t that truly precious?

The post The Poetry Behind the New Lady Arpels Ballerines Musicales Timepieces 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.

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.

Just as its illuminated facade blends stunningly with the vibrant and ever-bustling cityscape, the soothing interiors of the newly renovated Van Cleef & Arpels flagship boutique offer a momentary respite from it.

Only a year shy of marking its 10th anniversary, the Van Cleef & Arpels Hong Kong flagship boutique at 10 Chater Road has undergone a major renovation, reopening last month ready and raring to offer its clients a different but luxuriously familiar experience. And just as everything else is done at Van Cleef & Arpels, the revamp of the boutique’s 2,300-square-feet of space is meticulous and tasteful, staying ever true to the aesthetic tenets of the historic brand.

The French maison once again taps creative duo Patrick Jouin and Sanjit Manku of the Jouin Manku Agency, with whom it’s collaborated on numerous projects, most notably the overhaul of its Place Vendôme boutique. And for this two-storey Hong Kong store, the pair have gone for a nature-inspired concept and minimalistic, contemporary architecture that echoes both the modernity of Hong Kong and the lushness of its landscapes – and all while preserving the distinct elements they already put into place when they first designed the boutique in 2011.

[gallery ids="212635,212634"]

Jouin and Manku set the tone with an illuminated facade, which while resplendent is also subtly elegant. The grand entrance steers into us to an airy space that features some of the brand’s most notable jewellery and timepieces – a display aimed at showing the breadth and depth of the maison’s savoir-faire.

Then there’s the beautiful oak-wood staircase that leads to the second floor, where the bridal bar is located, as well as an area devoted to a selection of some of Van Cleef & Arpels’ heritage pieces. Tucked on the top floor, meanwhile, is an exclusive lounge where the brand’s most valued clients are entertained and offered personalised services, while being treated to stunning views of Central district.

“The design of each Van Cleef & Arpels’ maison calls for special care and attention,” says Nicolas Bos, the brand’s president and CEO. It must reflect the identity of Van Cleef & Arpels, while remaining anchored in the culture of the country or region.

The Jouin Manku Agency – which designed the original boutique nearly 10 years ago – carried out this renovation project, which enables all the maison’s collections to be presented in a setting that’s both welcoming and contemporary.”

The post A Look Inside Van Cleef & Arpels’ Revamped Hong Kong Flagship Boutique appeared first on Prestige Online - Hong Kong.