![]() “These aren’t diamonds you leave in the vault,” she said. Hence the number of designs with removable elements - lacquered layers, ring jackets or diamond motifs - in the second chapter of Metamorphosis, a collection inspired by nature’s transformations during the four seasons. While high jewelry isn’t exactly quiet luxury, De Beers Diamond Jewellers chief executive officer Céline Assimon likewise saw that clients are less interested in “flamboyant presence” but are looking for pieces that could go the extra mile. “You feel a deep sense of responsibility” when faced with heritage of that sort, she said, particularly when compounded by the million-year journey stones took to reach the surface - not to mention the history of her family. Elsewhere, she pointed out a house version of the baguette cut was the “logo inside the logo” that Delettrez Fendi wants to install as a signature.Īlthough the 30 designs she imagined for her first full-fledged collection for the Roman house carry a price tag that ranges from $60,000 to $1.3 million, the set of 61 pink spinels that form a crescendo on the Undarum portrait necklace took a specialist collector 40 years to source, she said at a preview of the gems. Throughout, the jeweler played with interlinked Fs, by turn cursive shapes that formed pseudo-classic curlicues entwined geometrically to create an abstract chain-link for a necklace, or repeated in wave-like successions. I always say that looking at a woman’s hand is like an inverted palm reading because these small objects are an extension and they communicate,” she said.Ī year in the making, the Fendi Triptych collection, which was the springboard for Kim Jones’ graceful yet easy to wear fall 2023 couture designs, was articulated into three chapters, with pink-hued Roma Rosa yellow-toned stones for Gioiello Giallo, in a nod to the house’s signature color, and Bianco Brillante, which Delettrez Fendi described as “an absence of color homage to white diamonds.” ![]() “Before, it was just this opulent aspect and things that were so heavy that you wore them once in a lifetime, then parked them in your safe,” said Delfina Delettrez Fendi, who attributed this sense of ease in high jewelry to the rise of female jewelers and consumers acquiring high-value items for themselves, rather than as gifts.īut don’t mistake purchases made for oneself as being less meaningful. Revealing 80 percent of the collection in September in a runway show during Paris Fashion Week is a way for her to speak of high jewelry “in a different way, in a more casual way,” she said, particularly at a time when clients are increasingly reaching for designs that can be worn rather than stored. The five-set first part of the “Midnight Sun” collection marked her 10th anniversary in high jewelry, casting yellow diamonds as a symbol of the “brilliance of the sun in the middle of the night” - or rather the glamorous ’70s club scene.īeyond the reveal of stunners that included the mirror-polish Ultimate Party collar featuring a 20-carat pear-cut yellow diamond and 9-carat cushion-cut diamond “made to shine but also to make you feel empowered,” Messika “found very interesting to as a teaser and to subscribe more in the fashion moment, which is quite competitive.” That contrast was also front and center at Messika, where founder Valérie Messika said that the sunny hue of yellow diamonds was reinforced by their pristine counterparts, and vice versa. But there were plenty more, including a necklace made of a cascade of yellow pear-shaped gems that morphed into a line of rail-set baguettes, and a row of golden brilliant-cut stones lined with a second row of white. ![]() The star of the exhibition was the pear-shaped 30.28-carat fancy intense yellow centerpiece diamond, flanked by a further 167 carats of yellow and white diamonds on a never-seen-before necklace. ![]()
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