Lroyal coronations often brought intense activity to the Parisian workshops. Often, but not always. This specific production seems to correspond to the level of prosperity of a society, or, on the contrary, to verify the intensity of an economic crisis, on a global level, or country by country. Thus, while America in the late 1930s was suffering from the upheavals of the Great Depression and France was experiencing political instability, the jewelry trade continued to flourish in Great Britain in the late 1930s. which causes insanity cartier For the silver jubilee of George V and later for the coronation of George VI: the jeweler made 27 tiaras in 1936. Customers apparently wanted luxury jewelry. Vogue asks, “Have you noticed that tiaras have become all the rage lately? “.
Conversely, Coronation of Elizabeth II In 1953, Edward VII was much more productive for the Place Vendôme than in 1902. It must be said that the promulgation of the Indian Independence Act in August 1947 heralded the end of the Maharaja’s era of prosperity. This, like the fall of the Romanovs after the October Revolution, represented a major setback for Parisian jewelers. It is not insignificant, therefore, that the production of tia suffered a significant and permanent decline.
The high jewel reclaims the territory of the mind
In January 2023, it seems that jewelers on the Place Vendôme are overwhelmed with requests for tiaras and ear ornaments in general. This surname designates a category of jewelry designed for the “land of the head”: they cover a large part of the hair, unlike earrings, and are apparently intended for big events. “In the Middle East, customers ask us for these precious objects that evoke princely splendor and are especially popular for weddings. Demand is also very high in East Asia,” says a jeweller.
Chaumet presented a capsule collection organized around eight reproducible pieces, with tiaras and headpieces taking center stage. To emphasize its dominance in this field, the house compared the contemporary production with some of its heritage treasures (eight to be exact): Mancini-style ornaments, chiseled in 1847, sparkled with Golconda diamonds cut into briolettes. They were next to a pair of early 20th century ruby-studded wings made for Princess Linea, but also the guilloché gold creations characteristic of the work of the 1970s. It reminds everyone of the elevation, the clouds, the captured birds. with a naturalistic appearance. Some pieces were worn as brooches, or were attached to the hat, enriched with a feather, to resemble a heron.
Promote creativity in factories
Versatility is precisely the characteristic of the collection, and especially its centerpiece: a tiara that becomes a pair of brooches. “We are again talking in the territory of the head” declares the Chamber. The tiara is still a very successful Chaumet signature. They are used in ceremonies, but also in a more informal, informal way, as headbands.’ These bright facial expressions allow you to display the mastery that only a few houses know how to provide. The house of Cartier, nicknamed “King’s jeweller, king of jewelers” by Edward VII, proved its prowess by unveiling, quite literally, a stunning piece: a necklace of dusty lines, whose voids and solids, accented with open sapphires, luminous living waves highlight sailing they go towards one 29.16 carat Ceylon sapphire. Pivoting on itself, the necklace became a diadem (to be placed as close to the forehead as possible) crowned with a blue star.
Delight and majesty
Claire Choisne, artistic director of Boucheron, also inspired the creativity of the workshops, as part of The Power of Couture collection, which consists of 24 pieces that re-edit the attributes of power, embroidered horns that can be worn as brooches or jewelry. hair thanks to the versatile cord. A white gold and diamond fern tiara was paired with two pairs of earrings, one of which, asymmetrical, could go up the length of the ear. The inherent rigidity of these statutory objects was graciously tempered, even deconstructed, by the virtuosic finesse of execution. While Victoire de Castellane finally dedicates her new collection of high jewelery to the fineness of the fabrics loved by Monsieur Dior, she also applies her sense of seduction and the science of harmony to a necklace that can be transformed into a magnificent tiara: an exercise. high flight for the typology of objects rarely explored by the house, brilliantly achieved thanks to the vitality of an atmosphere that ignites two bright braids, arranged around a 3.03 carat kite-cut diamond, as unexpected as a sculpture.