Photo by Benoit Pailley/Creation by Bertille Miallier
“In French it is called affirmed“, explains Patrice Leguéreau, director of the Chanel Joaillerie design studio, “that is to say something with a strong spirit and statement”. It’s a word he’s comfortable attaching to the collection of diamond jewelry that Coco Chanel presented to the world in 1932. “She didn’t do anything like anyone else,” he says. “And she wanted to do something that had never been done before.”
The comet brooches and star necklaces that Chanel showed in her Paris apartment in the interwar period were a scintillating act of revolution. “I started designing costume jewelry,” she said then, “because I felt it was refreshing and without being arrogant.” But the 1932 pieces were not the glorious Byzantine-inspired gold and colored stone fakes she had conspired with her friend Fulco di Verdura. There were tiaras of white diamonds in those latticed Coromandel rooms; yellow diamonds too. She had a mission: “During the economic recession, an instinctive desire for authenticity arose. I chose diamonds, she says, because they represent the greatest value in the smallest volume. They have also been a boon to a struggling industry. Beauty to the rescue in times of crisis?
Ninety years later, here we are again. “The origin of jewelry at Chanel is this collection, the only one that Coco Chanel herself has overseen,” says Leguéreau. “This time we celebrate all the stars.” It all starts with this Allure Céleste diamond and sapphire necklace, full of movement and modernity, the start of a new “1932” Collection which will begin during the year. “Why not start with the masterpiece? »
Above: CHANEL High Jewelery Allure Celeste necklace in diamonds and sapphires from the “1932” Collection, 800-550-0005.
This story appears in the March 2022 issue of City & Country. SUBSCRIBE NOW
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