With a sweeping look across the long history of jewellery, The Jewellery Book highlights icons and eras that elevated jewels from trinket to art. Every connoisseur has a preference when classifying jewellery, be it by historical period, trend, stone, or geographical region. Crystal Arts Publications, the brain behind The Jewellery Book, takes a somewhat unconventional approach — classifying jewellery according to inspiration.
The result is an engaging book, divided into four sections. The lines tend to blur between the sections, but art is never rigid and does not lend itself to be captured in neat boxes.
It is this flexibility that helps the reader make sense of the publishers’ sections — a reminder that jewellery is personal, that each piece has a unique origin, and that context is the individual appeal of every masterpiece. It is with this perspective that we explore the four sections of The Jewellery Book.
ICONS OF DESIRE
Coloured gemstones are “always in trend”. The ‘big three’ are rubies, emeralds, and sapphires. Famous examples include the Elizabeth Taylor Bulgari Emerald necklace and the Empress of Rose necklace from the House of Rose, with a 290ct Colombian emerald pendant.
Then there is the perennial appeal of pearls. There is no way to control their growth and the colour and shape of each pearl is a mystery until it is harvested from an oyster.
Diamonds, both white and coloured, also appear in Icons of Desire, as do watches that double as adornment.
INTRINSIC NATURE
From pastoral themes to floral prints, living things and the environment serve as irresistible blueprints for paintings, sculptures, and jewellery. Damiani is a jewellery house known not only for infusing its masterpieces with the vibrant hues of plants, but also for imitating their flexibility of movement.
When jewellery imitates fauna, the result can be quirky or sexy. Take, for instance, Carrera y Carrera’s Romance ring and pendant, which feature a frog poised to leap from a lily pad, or DeGrisogono’s Super Pig ring. When artists imitate life, they can choose to interpret it as a fairy tale, or churn out a realistic replica.
CREATIVITY FROM WITHIN
Computer-aided design has made it possible to realise complex concepts, especially with 3D-printing, enabling jewellers to create detailed, intricate casts. However, the basic elements of design remain — including matching a piece’s silhouette and dimensions with the body part that it is intended to adorn.
More modern innovations in jewellery include bendable pieces, such as Roberto Bravo’s Le Grand Bleu collection which exudes a similar appearance of fluidity and uses enamel to mimic corals of many colours.
STYLE IS FOREVER
Some jewellery wearers like to stay classic in white diamonds; while others mix and match coloured stones.
Some women prefer the organic warmth of the pearl, while others seek the exciting edginess of titanium. “Fashions fade, style is eternal,” said Yves Saint Laurent. And this, the last section of The Jewellery Book, seeks to remind wearers and connoisseurs that style is not only eternal — in the end, it is individual.
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