Dior: all in the garden
Last year, thanks to the Dior a Versailles jewelry collection, we took a fresh look at the interiors of the Palace of Versailles and paid attention to what we had not noticed before: the shape of the crystal pendants of the lamps or the feather at the head of the Louis XIV bed. This time, the permanent creative director of the Dior jewelry lineinvites you to stroll through the park of Versailles. As a knowledgeable and experienced guide, Victoire takes you to the most secret corners of the garden, sprinkles facts from its history, seasoning his story with mythological subjects that formed the basis of Le Nôtre's park architecture. So, the legend of Latona, which could not water her children from the pond, because the peasants threw clods of dirt into it (as a result, Zeus turned them into frogs), was embodied in the Parterre de Latone bracelet: tiny emerald amphibians are visible around the pear-shaped sapphire.
© Dior Press Service
The park owes its fame to the "sun king", although it was founded in the 1630s, under Louis XIII. In the 1660s, Louis XIV undertook a grandiose reconstruction of his residence, especially its park area, and invited the remarkable architect André Le Nôtre to his courtyard. The Latona basin, the water parterre, Thetis grotto, the Apollo fountain, the Grand Canal (with its own Royal Flotilla of Versailles) - it was Le Nôtre who designed all the main structures of the park, and also developed a system of so-called bosquets, green corners and labyrinths of hedges in front of the palace facade.
Landscape design elements of the 17th century formed the basis of the Victoire de Castellane collection Dior a Versailles: cote jardins. Jewelry sets have received “garden and park” names: “Bosquet of the Colonnade”, “Bosquet of the Ballroom”, “Pool of Nymphs”, “Southern Parterre” - and, often conditionally: their design does not always reflect the real fragment of the park. But Victoire is very different - to show "a paradoxical mixture of natural and man-made in every thing." Therefore, the fantasy cut of stones resembles either perfectly trimmed crowns of trees, or petals of bizarre shapes, the old cut "rose" is also used. Rings, bracelets, necklaces are a crazy jumble of pistils and stamens, stems and leaves, flower beds and sea shells carved from rock crystal (not so common in Victoire's work), arches entwined with greenery.Sometimes, among this blooming motley, from a scattering of small stones from turquoise and garnets to noble corundum interspersed with colored varnish, a large sapphire, tourmaline or emerald suddenly appears, symbolizing a water pool (as in the rings of the Bassin des Nymphes or in the Grand Canal). But he is more likely a part of the composition than its semantic center.
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All 16 pairs of earrings in the collection are asymmetrical, although they match each other in color: "They are not married, they just go in pairs," jokes Victoire. The Guirlande de Fleurs two-finger rings and the dials of the Clairiere Diamant jewelery watch frame vibrant flower garlands that will never fade. The most expensive (€ 2.4 million) necklace with a colorless diamond surrounded by a "living" jewelry fence is dedicated to the Trianon Palace, where Queen Marie Antoinette lived.
The collection has become the largest in terms of the number of items. Of the 66 jewelry pieces, 29 are unique, and a good half of the high jewelry collection has already found its first owners.
Chopard: The Great Silk Road
For a couple of years now, oriental motifs have been appearing in the Chopard High Jewelery collections: either carved jade or arabesques. The latest collection was created in collaboration with the Chinese fashion designer Guo Pei, whom Caroline met in 2015. Under the impression of couture dresses from the archives of an oriental fashion designer, 37 unique jewels were born, which, according to Chopard's creative director of jewelry, will suit not only Asian but also European clients.
© Chopard Press Office
The key items in the Silk Road Collection are a necklace with 11 pear-cut Colombian emeralds, weighing over 100 carats, paired with Paraiba tourmalines and diamonds (worth CHF 2.3 million). The selection of stones, their re-cutting took a whole year, the setting is made of white gold and titanium. Another 36-carat pear-shaped emerald, also from Colombia, adorns a diamond collar necklace, however, the emerald pendant can be detached.
The palette of green, an important color for oriental style, is complemented by traditional jadeite. This stone is used to make earrings framed with tiny cabochons of emeralds and sapphires. In a luxurious pearl necklace (the pearls of the South Seas have been collected for three years), the "pastoral" brooch with birds is also made of jadeite, and the most expensive variety of it has been chosen - "imperial jadeite" of a rich shade. Many of the frame elements are made of titanium. Among its advantages (with undoubtedly laborious processing and setting with stones), Carolina notes not only lightness, but also susceptibility to staining. The choker made of amethyst beads is decorated with a large medallion with a floral motif - a rich red background is visible under the openwork floral pattern. It is not varnish or enamel, but painted aluminum, first used in jewelryChopard. The point is that titanium “does not accept” the red color, so we had to turn to another light metal, which, in principle, is quite rare for jewelry.
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Today the atelier is preparing for the premiere of another amazing set entirely in red. An open necklace with tassels at the ends, which can be detached and turned into earrings, is studded with Burmese rubies of various shapes and cuts. All frame connectors are made of red painted aluminum. The process is approximately the same as when working with titanium: as a result of a chemical reaction, the dye penetrates deep into the metal structure. Apparently, the ever-red ruby jewel will outperform a necklace set with natural Colombian emeralds in value.>