Art Deco Dominates the High Jewelry Season

 Art Deco Dominates the High Jewelry Season

Although almost no traditional couture shows were scheduled this week, a handful of houses on Place Vendôme — Chanel, Van Cleef & Arpels, and Boucheron among them — planned viewings of high jewelry collections by appointment, and in keeping with local health guidelines.To get more news about images of jewelry designs, you can visit jewelryhunt.net official website.

But others, such as De Beers and Cartier, have mostly transitioned to the virtual realm. And a few, including Louis Vuitton, Dior, Repossi and Chaumet, have moved their collection debuts to March, following the fall 2021 ready-to-wear shows here.

It seems that many houses are leaving their connections to Couture Week behind and moving to their own calendars, much like fashion’s adaptation to months of lockdowns and distancing.Inspired by their own archives from an era that was both opulent and radically simple, many jewelry houses have left rainbow hues behind to return to the graphic allure of black and white, chiseled lines, and stylized curves, with a shot of bold color. Emeralds, in particular, took pride of place this season, but so did yellow diamonds and ornamentals like lapis lazuli paired with white diamonds and colored gems in a mash-up of cuts. A mix of metals enhanced the effects.

The interplay between past and present was perhaps most apparent in the Sous Les Étoiles collection by Van Cleef & Arpels. (The house said the 80 jewels to be shown this week were about half of the planned total.)

Stargazing, drawn from mythology, science fiction and even NASA, came together in gem-studded pins of goddesses symbolizing planets and constellations, like Cassiopeia, and pieces whose colors and forms were linked to popular science, including illustrations from the late-19th-century book “Astronomie Populaire” and recent images from deep space of nebulae, cepheids and comets.

For example, the 41P, a blue-green comet that occasionally may be seen with the naked eye, was reinterpreted as Nuée d’Émeraudes, an articulated plastron necklace made of 96 baguette-cut Afghan emeralds weighing a total of 62.3 carats as well as sapphires and diamonds, all mounted in a radiant shape and reflecting the house’s extensive Art Deco heritage.

In a more modernist spirit, precious stones were mingled with ornamental ones for the Mosaïque d’Étoiles clip (in lapis lazuli, sugilite, turquoise and diamonds) and the Arche Solaire, a cuff bracelet in twin loops of mauve sapphires, coral and diamonds.At Boucheron, Claire Choisne, the house’s creative director, tapped into its archives from the 1920s — in 1925, the house won a grand prize for its display at the era-defining Exposition Internationale des Arts Décoratifs et Industriels Modernes — for a collection titled Histoire de Style, Art Déco that focuses on emeralds, white diamonds, onyx and rock crystal.

Ms. Choisne also used the house’s tradition of transformable jewels as a way to bridge past and present. The ’20s-era garçonne met modern-day gender fluidity in a cravat-style necklace with a Zambian emerald weighing slightly more than eight carats that could be worn as a tie, necklace, pendant or pin. (Boucheron’s video presentation also reflected the times: A male model was shown wearing some of the pieces, including using the Ruban Diamants ribbon as a belt.)

And a commission from 1928 — ordered by the gem-loving Maharajah of Patiala — was reprised in a three-strand transformable necklace set with diamonds, onyx and more than 1,071 carats of Zambian emerald beads that the house said took four years to gather.