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European Vacation: Inside Van Cleef & Arpels’ Le Grand Tour

By Amy Elliott | July 13, 2023

A highlight of Haute Couture Week , which took place in Paris in early July, was Van Cleef & Arpels ’ unveiling of its latest high jewelry collection. Titled Le Grand Tour, it encompasses 70 pieces, all inspired by a tradition in 17th- to 19th-century Western culture that saw young aristocrats taking lavish trips through Europe to experience its cultural wonders.

“The collection celebrates a tradition that has always fascinated us,” Van Cleef & Arpels president and CEO Nicolas Bos commented in notes on Le Grand Tour. “The collection blends the traditions of jewelry and decorative arts—such objects were brought back as souvenirs from the grand tour—with the idea of once again discovering and mixing periods and cultures. For that, we followed the trail of our predecessors and chose cities that were renowned stops historically. We took inspiration from antique jewelry, marrying it with our own heritage, style, and craftsmanship. The result is like a colorful sketchbook that invites to dive into destinations and gemstones.”

Stops on this glittering journey include London, Paris, the Swiss Alps, and Baden Baden (in the heart of southwestern Germany), but the most action-packed chapter unfolds in Italy. Read on for a “travelogue” of the treasures located therein.

A quartet of flexible bandeaux bracelets typical of Van Cleef & Arpels’ work in the 1920s provides a kind of amuse-bouche to the multicourse Italian feast to come: There is one bracelet each for Venice, Florence, Rome, and Naples, the destinations highlighted in this portion of Le Grand Tour.

Sculpted gold motifs depicting well-known Italian landmarks glint from gem-set backgrounds that evoke a bejeweled panorama of colorful micromosaic tesserae. You can make out the architectural features of the Colosseum in the example shown below.

The city’s glorious canals and picturesque gondolas are expressed in the magnificent necklace below (just in case you needed further proof that turquoise can be unbelievably luxe ). This choker style is fringed with 16 articulated turquoise pendants topped by pavé diamond arches, a nod to Venice’s bridges. Deep blue sapphires add contrast, and the back of the necklace is finished with the most decadent surprise: neat rows of gradated blue sapphires.

Beyond the Venetian landscape’s distinctive features, other inspirations inform this group. For example, the Carriera earrings are an homage to the Venetian painter Rosalba Carriera (1675—1757), a member of the Rococo movement, whose work, according to the collection notes, is said to have influenced a penchant for pastels among the courtiers of 18th-century France. Hence the earring’s various shades of pink; the inclusion of pearls alludes to the jewelry styles that were in vogue during the Rococo era in France and in Italy.

Magical Firenze, forever steeped in Old World charm and romance and Renaissance history… The jewels from this stop on the tour lean heavily on stones in painterly colors that also evoke passion and desire, taking a cue from the city’s magnificent artisan traditions. Van Cleef & Arpels fittingly offers an homage to the Florentine painter Sandro Botticelli and his famous 1485 masterpiece The Birth of Venus with a ring that centers an oval-cut pink sapphire in the hollow of a rose gold shell. The spiraling gems and metalwork of the Ode à l’Amour ring capture the essence of the painting’s iconic sea-themed details and the tendrils of Venus’ water-swept hair.

An original take on Florentine aesthetics: the Villanova necklace, inspired by Etruscan-style jewelry, with its generous ensemble of rubellites and diamonds descending from a rose gold choker woven in a chevron pattern. Each rubellite element is detachable in case the moment calls simply for the richness of gold and diamonds. And that clasp!

Van Cleef & Arpels artisans were endlessly inspired by the Eternal City’s architectural and historical marvels, from St. Peter’s Square to Villa Borghese. The Piazza Divina necklace borrows the former’s geometric layout, first designed by Bernini in the 17th century, with its elliptical motifs—including the 13.08 ct. oval-cut emerald that is the centerpiece of the detachable medallion.

A celebration of Roman antiquity, the Anfora clip reveals a red jasper intaglio dating to the 2nd century A.D. It sits at the heart of a composition inspired by the ancient art of goldsmithing and punctuated with a lapis lazuli cabochon, a splash of diamonds, and an oval spessartite garnet that bathes the jewel with a warm, sun-like glow.

Finally, the Diana transformable necklace is a reference to the temple of Diana in the gardens of Villa Borghese. Its distinctive columns and cupola surface at the base of the necklace’s ornate central medallion, enclosing a sapphire, and crowning a tassel of pearls and emerald beads. The tassel is detachable so the necklace can be worn a number of ways; the jewel also breaks down to form two matching bracelets, and the sapphire medallion doubles as a brooch.

Van Cleef & Arpels’ last stop in Italy includes a necklace inspired by the city’s famed Church of Gesù Nuovo; the other pieces in this group are rooted in locales that are often included as “day trips” on itineraries covering Napoli and its environs.

The Ninfe necklace summons the mosaics of the ruined Nymphaeum, a monument that was built in the ancient enclave of Herculaneum on the Bay of Naples (like Pompeii, Herculaneum was decimated by the eruption of Mount Vesuvius in 70 A.D.). The necklace takes its form from a lavish floral crown worn by one of the nymphs in the mosaics.

Floral and foliate motifs—a Van Cleef & Arpels signature since its inception—also show up in three brooches in the Naples group, including the Symphonie Végétale. They’re inspired by terraces and gardens found in the villas of Ravello on the Amalfi coast.

Who wouldn’t want to linger in these blooming paradises, real or bejeweled?

Top: Postcard from “Naples” via Van Cleef & Arpels: Symphonie de l’eau clip in white gold and rose gold with black opal cabochon, sapphires, tsavorite garnets, green tourmalines, and diamonds.  

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Van Cleef & Arpels Takes High Jewelry on Le Grand Tour

Dripping with gemstones, Van Cleef & Arpels' Le Grand Tour collection celebrates the majestic wonders of Europe through the art of high jewelry.

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Le Grand Tour: Van Cleef & Arpels’ Odyssey of High Jewelry and Timeless Elegance

Photo: Álvaro Gracia

Since its establishment in 1906, Van Cleef & Arpels has consistently maintained a tradition of excellence in every facet of its craft, attracting patronage from numerous celebrities and royalty. The jewelry house’s designs, rooted in inspiration drawn from nature, history, and culture, go beyond mere trends, remaining both relevant and highly sought-after for generations to come. The recently unveiled “Le Grand Tour” high jewelry collection, which was showcased in Rome, seamlessly merges Van Cleef & Arpels’ timeless essence with contemporary elegance, alluding to the idea that the journey itself is a masterpiece of artistry.

The “Grand Tour” in the 16th century was a significant journey undertaken by aristocrats, later embraced by artists and intellectuals, spanning the European continent to broaden knowledge and cultural horizons. In 1910, French Poet André Suarès chronicled his Italian journey, studying Renaissance masters in cultural hubs like Naples, Venice, and Florence. These journeys had a lasting impact, shaping Europe’s art and culture, introducing new ideas that left an enduring mark on society.

The “Le Grand Tour” collection draws inspiration from iconic destinations like Florence, Rome, Baden-Baden, and Naples, each accompanied by equally breathtaking jewelry pieces. This collection embodies the aristocratic journeys that began in the late 17th century, serving as an educational extension. The grand tours covered historical sites and ancient cities, notably in Italy, and even ventured through remote mountain passes. Rare gemstones, as precious as the art that inspired them, elevate the collection’s exquisite nature. 

Throughout the collection, necklaces, bracelets, and earrings depict contrasting landscapes, blending Italian antiquity with perhaps Swiss inspired, majestic snow-capped mountain beauty. Three-dimensional clips blur the lines between jewelry and the goldsmith’s art, earrings evoke imagery of baroque girandoles and Etruscan bauletti, and rings captivate with graphic contours and vibrant colors. Each piece is a tableau of phenomenal crafted details, utilizing various gold-working techniques for reflection, light play, and architectural lines.

Traditional savoir-faire meets contemporary methods at Van Cleef & Arpels, showcasing the maison’s craftsmen’s virtuosity in delicate articulations and finishing touches on both, the front and back of each piece. A diverse selection of vibrant gemstones forms contrasting ensembles in this collection. From faceted gems to cabochons, transparent stones to pearls, and sapphires to emeralds, each stone’s beauty is celebrated in harmonious compositions. In the words of Nicolas Bos, CEO of Van Cleef & Arpels, “ The collection is multi-dimensional. It blends the traditions of jewelry and decorative arts – such objects were brought back as souvenirs from the Grand Tour – with the idea of once again discovering and mixing periods and cultures. For that, we followed the trail of our predecessors and chose cities that were renown stops historically. We took inspiration from antique jewelry – Roman, Etruscan, Medieval or Renaissance –, marrying it with our own heritage, style and craftsmanship. The result is like a colorful sketchbook that invites to dive into destinations and gemstones.” 

As you explore this collection from its very inception to its final piece, you will find yourself embarking on a wondrous journey that transcends mere jewelry. The artistry within Van Cleef & Arpels’ latest collection is not limited to the physical pieces alone; it extends to the stories they tell, the emotions they evoke, and the dreams they inspire. It’s a journey that transports you to different corners of the world and different eras in history. 

Style: Enol Blasco  Hair: Flavio Santillo  Makeup: Samia Mohsein  Producer: Danica Zivkovic  Local producer: Luna Loreti at Magma Productions  Model: Chiara Scelsi at Women Management  Lighting assistant: Fulvio de Filippi Digitech: Francesco Gilli Style assistant: Irene Ragnini

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Parent item expand the sub menu, tod’s unveils exhibit celebrating venetian craftsmanship, dream on: golden goose unveils haus of dreamers in marghera, italy, omar nobil on transforming design within reach from a retail store to a lifestyle brand, van cleef & arpels unveils high jewelry collection in rome.

The collection was inspired by the Grand Tour cultural experience and was presented with an experiential event at Villa Medici.

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ROME — Van Cleef & Arpels jewelry sometimes is inspired by “imaginary places or fairy tales,” but for its latest high jewelry collection unveiled on Wednesday evening in Rome, it was more about “real journeys through history and art,” said president and chief executive officer Nicolas Bos.

Specifically, the Grand Tour, which gives the name to the collection and best embodies the cultural experience popular in the 18th and 19th century.

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Van Cleef & Arpels staged the presentation at Rome’s Villa Medici, the Academy of France in the Italian capital, which was at the heart of the Grand Tour.

Throughout the estate and the terrace overlooking the city, with the help of actors, the company offered postcards of some of the main cities considered a Tour Must-see: a serenade in Neapolitan to a model wearing a parure on one end, musicians under a Wedgwood-like pavilion, or the traditional Harlequin character in Venice jesting in another corner of the garden. More surprises were in store, as Pulcinellas on stilts and several other masked characters danced around the garden while horses pulled a golden chariot or raced through the esplanade. After a fashion show during dinner, the evening ended with colorful hot air balloons floating in the sky and an opera singer performing while suspended mid-air.

Villa Medici’s “cultural inspiration and celebration of beauty continues today; it’s not only a place of fantastic memories of the past and of Italian Renaissance,” Bos said.

On display was a collection of around 70 beautiful and artistic high jewelry pieces.

“The collection is multidimensional. It blends the traditions of jewelry and decorative arts — such objects were brought back as souvenirs from the Grand Tour — with the idea of once again discovering and mixing periods and cultures,” Bos said. The company chose cities that were renown stops historically, taking inspiration from antique jewelry — Roman, Etruscan, Medieval or Renaissance — “marrying it with our own heritage, style and craftsmanship.”

Four bracelets faithfully reproduced views of Venice, Rome, Florence and Naples, Italy, their bridges, domes and skylines, similar to antique micro-mosaics, but Bos underscored the intent was “to stay away from stereotyped postcard images.” Entirely flexible, they were inspired by the bandeaux bracelets typical of the 1920s. “Inspiration is very important, like with art and poetry, it is key…what we are looking for is to find the right balance between inspiration and references, without being too obvious or literal.”

Necklaces and bracelets formed landscapes and motifs, including snow-peaked mountains and brooches reproducing Alpine edelweiss. Worked three-dimensionally, sculptural clips comprised vintage cameos. Earrings surprised as Baroque girandoles.

Asked about the arrival on the scene of new brands introducing high jewelry, Bos believes they can help “introduce the category and start the journey.” He sees many returning and loyal Van Cleef & Arpels clients across generations, building “a real strong connection,” although he realizes that “some collectors also buy different iconic pieces from other brands, similarly to art collectors.”

The Piazza Divina necklace was a marvel, reflecting the Baroque architecture of Rome’s Saint Peter’s Square designed by Bernini — a first trapezoidal area that gives way to a second one with an elliptical shape. Rings of white gold set with diamonds, studded with emeralds and sapphires, formed the choker, punctuated by 14 pendeloques in rose gold and diamonds, alternating with motifs that each combined a pear-shaped diamond and an emerald. At the center of the necklace, a medallion showcased an oval-cut Ethiopian emerald weighing 13.09 carats, surrounded by round diamonds.

Inspired by the London stop, and Canova’s statue at Chatsworth House, the Dea Eterna brooch revealed the silhouette of the goddess Hebe, perched on a rock of lapis lazuli pouring ambrosia from a niche made of superposed strips of polished or textured gold and marquise-cut diamonds, which suggest the asperities of rock. The three-dimensional elements included pink sapphire, lapis lazuli and a cultured pearl — a sort of tableau, evoking the artificial waterfall installed in the gardens of the stately home, crowned by an elegant pavilion in the form of a temple.

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Bon Voyage: Le Grand Tour High Jewellery Collection by Van Cleef & Arpels

August 18, 2023

Van Cleef & Arpels’ Le Grand Tour high jewellery collection is an ode to the popular 18th-century voyage that the enlightened aristocracy and elite would embark on to sightsee Europe. Each of the 70 pieces included in this collection is representative of the works of art, flora, architectural details, and historical monuments of the most popular cities visited during such an epic tour. Through textured gold and carefully chosen coloured gemstones, the Maison has crafted pieces that enable us to rediscover the different cities and their iconic artistic treasures, allowing us to travel ourselves.

Van Cleef & Arpels presented its latest high jewellery collection on Place Vendôme in a unique fashion: in a classroom setting at their famed school, L'École des Arts Joailliers. It is a place of learning where visitors are treated to an exceptional discovery of jewellery history, savoir-faire, and the world of gemstones. This environment is perfect for presenting this collection, as it underscores how the historic 18th-century expeditions that young aristocrats would undertake would be for educational purposes: to study art and literature across Europe. The Maison has reinterpreted this journey and its emblematic sights through eight high jewellery chapters named after the most important stops along a typical traveller’s route.

Chapter I - London

London is the first stop on this voyage across the continent, paying homage to the British institution of Wedgewood porcelain. Inspired by the lace patterns and muted colours it is known for, this first chapter is full of plays between white and blue gemstones to recreate that famed industry’s style, patterns and colours. The Josiah necklace is created from intertwining strands of round brilliant and baguette-cut diamonds set in white gold, culminating in two oval-cut Sri Lankan sapphires of 25.10 and 21.78 carats that hang delicately at the centre of the necklace. In keeping with the Maison’s tradition of transformable high jewellery, each of these sapphires can be detached from the necklace and reattached to a matching set of earrings.

Another important British artistic landmark noted in this first chapter is Chatsworth House. Nicknamed the English Versailles, this residence was home to one of artist Antonio Canova’s famous statues of Hebe, the Greek goddess of youth. Van Cleef & Arpels pays tribute to this important work through the Dea Eterna clip. The piece depicts the goddess in diamonds and yellow gold, perched on a rough lapis lazuli and surrounded by a shimmering waterfall of marquise-cut diamonds and textured shards of yellow gold. A black pearl drop finishes the design, which is another nod to Hebe as it is a stone that symbolises eternal youth.

Chapter II – Paris

The next stop along the Grand Route would be the capital of glamour, Paris. Travellers here would admire the works of art of the ‘Grand Siècle’, particularly those created under the reign of Louis XIV – the Sun King. In this chapter, the Van Cleef & Arpels' designers honour the city’s penchant for ornate décor like bejewelled chandeliers and over-the-top fashion, using a palette of vivid colours mixed with bold geometric shapes. The Lucendi earrings evoke the beautiful wardrobe and opulence of the Parisian Court’s ladies-in-waiting. Rose gold , diamonds and pink sapphires create elaborate silhouettes that allude to the ornate and extravagant aesthetic of Versailles’ chandeliers. The focal point of each earring is an oval-cut rubellite, one weighing 11.48 and the other 10.14 carats.

This celebration of French fashion and taste is further seen in the Noeud Royal ring. This piece is a tribute to the impressive fashion scene born in Paris. A geometric bow of white gold set with baguette-cut and round brilliant diamonds culminates in a cushion-cut pink sapphire of 6.38 carats. The piece also honours the ribbon design motif - a key element in the Maison’s aesthetic since its creation.

Chapter III – The Alps

Moving to a more natural landscape, the pieces in this third chapter celebrate the beautiful and untamed vegetation the Grand Tour pilgrims would have seen as they crossed the Swiss Alps . A drastic change from the fast-paced capital cities of London and Paris, the pieces in this section feature much cooler and softer-toned gemstones. The Regina Montium necklace considers the snow-capped mountains of Switzerland and its lush green forests. A frosted necklace composed of peaks of diamonds, tanzanite, aquamarines and violet sapphires slowly guides you towards an articulated centre piece, where two large cushion-cut tourmalines are nestled in a frame created from these same gems. The smaller 16.26-carat tourmaline sits at the heart of the necklace, whilst the larger 27.70-carat gem is detachable and can be worn as a pendant.

Another work of art inspired by mother nature that is celebrated in this chapter is the Edelweiss, the official flower of Switzerland. This wild plant that only blossoms at high altitudes is recreated as another celebrated Van Cleef & Arpels clip in white and intense yellow diamonds complemented by gentle blue sapphires. Close groups of yellow diamonds are set at the centre of the petals created from pear-shaped, square and marquise-cut white diamonds set in yellow and white gold to simultaneously bring a glacial feel to the design while complementing the colour of the warm yellow diamonds.

Chapter IV – Venice

We next follow our Grand Tour journeymen across the mountains to the antique and renaissance treasures of Italy, where the first city they would reach is Venice . The pieces in this chapter reflect the waterfront gothic architecture of the city’s bridges, canals and piazzas. The Chant des Gondoliers necklace is a bejewelled model of the city’s canals and archways. Articulated pendeloques of white and yellow gold set with diamonds and deep blue sapphires create an arch motif, indicative of the city’s low bridges. Beneath each carved arch is a cabochon turquoise, of which there are sixteen in total. The seamless bold form of each stone evokes sun-lit blue waters that rush through the city’s canals, whilst the back of the necklace is set with a gradation of sapphires, conjuring the image of the shaded waters beneath each archway. This detailed backing is a telling design detail of Van Cleef & Arpels, where each high jewellery piece is perfectly polished and designed from back to front. The matching drop earrings are fashioned as individual segments of the necklace, each with its cabochon turquoise.

Another important architectural monument in Venice is its best-known square – the Piazza San Marco. This is portrayed by the Reine de l’Adriatique necklace and its matching clip. It is a graphic set of jewels created with intense blue stones, diamonds and rose gold in the image of the Gothic architecture of St Mark’s Basilica. The openwork of the gold and gemstones on the necklace creates an almost mosaic effect that guides the eye to the oval-cut 9.40-carat sapphire at the pendant's centre. The matching clip depicts the landscape of Venice seen from the sea in the form of a micro mosaic of gems. This piece can be detached and replaced with the brooch, creating two different necklaces and aesthetics.

Chapter V – Florence

Moving further into Italy, the pieces in this fifth chapter were created as a tribute to Florence as a place of romance and as the home of the Renaissance movement. They shine a light on the remarkable painters of this artistic period. The Ode à l’Amour ring is instantly recognisable as a high jewellery interpretation of Sandro Botticelli’s masterpiece – The Birth of Venus. Through a blend of creativity and savoir-faire, a carved pink gold shell outlined with a brilliant diamond pave sits atop a white gold band. Inside the shell, Botticelli’s Venus takes the form of a beautiful oval-cut pink sapphire of 4.04 carats, surrounded by smaller pink sapphires, rubies, and diamonds. The curved shape of the shell particularly highlights the savoir-faire of the Maison. To replicate such a realistic shape, the in-house craftsmen employed ramolayé, where the rose gold is carved before being raised in volume. This allows for a shell of striking three-dimensional shape and texture.

Another important Florentine painter honoured in this chapter is Angelo di Cosimo, more commonly known as Bronzino. This Florentine artist was famed for his representation of pearls in his works, as most of his female portrait subjects are seen wearing pearl earrings, chokers or decorative headpieces. The Perla di Angelo necklace pays tribute to this jewellery detail in the master’s works by creating a necklace composed of yellow gold, 30.11 carats of emerald-cut emeralds and fourteen white natural pearls.

Chapter VI – Rome

Arriving in Rome, the educational focus of the travellers would be the historical importance of the city and the relics of ancient civilisations that can be found throughout its cityscape. The pieces in this chapter shed light on the antiquity of this important place and its imperial history by featuring gems emblazoned with reminders of the city’s global impact. The city’s great ancient emperors and civilisations are captured in three sculptural clips featuring a glyptic gemstone. This craft was popular during antiquity and involved carving designs and shapes on the surface of gems or completely transforming their shape to depict figures or symbols. The carved gemstones originate from the first to third centuries, each of which is a historical artefact in itself.

The first clip in this series is a sapphire engraved with a bust of the emperor Caracalla, famed for Roman baths. He is depicted in profile, dressed in a traditional robe adorned with fibula. This gem is set in the Laurier Impérial clip, shaped like the laurel wreath crowns that Roman emperors wore.

The second carved stone in this series is a red jasper intaglio that dates to the 2nd century and is engraved with an amphora motif, a traditional ancient Greek two-handed clay vase. The stone is set against a gold and diamond-textured reiteration of the vase, alongside lapis lazuli cabochons and an oval-cut spessartite garnet weighing 4.87 carats.

The final gem in this series of three clips is an 8.62-carat citrine cabochon engraved with a crescent moon and stars. This intaglio was produced between the 1st and 2nd centuries and is set against a backdrop of a carved gold and diamond night sky, further highlighting the magnificent carving of this ancient stone. What is particularly interesting about this final gem is that citrine was rarely used in the history of glyptic art.

Chapter VII – Naples

After the eternal city, the Grand Tour would move south to Naples, where they would experience a more rugged and exotic landscape of vibrant colours. The Maison chose to honour the tropical flora surrounding the Gulf of Naples. Inspired by the hanging gardens of Ravello and the Amalfi Coast, the Maison presents a set of clips filled with green foliage and colourful flowers. The Symphonie Florale clip recreates the atmosphere of strolling through the vegetation of an Italian villa’s garden. An 8.10-carat spessartite garnet, a 7.01-carat tsavorite garnet and a 7.31-carat pink garnet are set in swirls of white and rose gold mixed with green tsavorites and mauve sapphires. The Symphonie Végétale clip evokes a similar vision. An oval-cut pink tourmaline sits at the centre of a blooming floral shape created from white and rose gold, coloured sapphires and white diamonds. Finally, the Symphonie de l’Eau clip is inspired by the Gulf itself. The reflections of its colourful landscape in the water are brought to light through a 5.88-carat cabochon black opal with intense fires. The gem is set in a leaf-like shape designed in white and rose gold set with sapphires, tsavorite, garnets, green tourmalines and diamonds.

Chapter VIII – Baden-Baden

A final and welcome stop that people would make on the Grand Tour was the spa town of Baden Baden in Germany’s Black Forest region. In this chapter, Van Cleef & Arpels chose to create a piece that would honour the beautiful architecture of this small town. The Jeu de Colombage transformable ring celebrates the historic alleyways, traditional timbered frame houses and ivy-covered walls of Baden Baden’s old town in white gold, rubies, sapphires, diamonds, and an impressive 13.35 sugar load Colombian emerald. This ring can be worn in four different ways, thus varying its style to suit any occasion.

The Grand Tour collection is Van Cleef & Arpels’ most historically inspired collection to date. It allows us to travel in time and between places, with each jewel taking the viewer on an educational journey, with hidden meanings and symbols in every design.

AUTHOR: LIVIA PRIMO LACK

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Van Cleef & Arpels unveils its new high jewellery collection, Le Grand Tour

Parisian maison Van Cleef & Arpels has launched its Le Grand Tour high jewellery collection in Rome, celebrating the great artistic voyages of young nobility across the European continent

By Felix Bischof

To unveil its latest collection of high jewellery, Van Cleef & Arpels chose Rome for a location. And the Parisian maison had reason to do so: entitled Le Grand Tour, this new offering is a precious interpretation of the journeys through Europe that young aristocrats undertook from around the late 17 th  century onwards. Planned and mapped out as an add-on to an academic education, grand tours would typically take in sites from centuries past, ancient cities (particularly around Italy) and even snake through remote mountain passes. 

As it often did back then, the Grand Tour by Van Cleef & Arpels begins in London. The capital city inspired a necklace in a colour palette of white and blue. It’s a nod to Wedgwood porcelain. In white gold, the Josiah necklace is bedecked in white diamonds. Then, there are two deep blue oval sapphires, both from Sri Lanka. In between sits a round diamond of 1.5 carats. 

From its London departure point, this Grand Tour then takes in sites across Europe, each inspiring remarkable pieces of high jewellery. Chandeliers from the 18th century and life at royal court near Paris inspired a pair of rose and white gold earrings set with mauve sapphires, diamonds and a duo of oval rubellites. 

Mountains cloaked in snow – perhaps in Switzerland – gave design cues to the Regina Montium necklace. In white gold, the dramatic collier suggest ice and snowflakes with white diamonds, sapphires, aquamarines and tanzanites. At the heart of the necklace, an oval blue-green tourmaline or 27.70 carats and one cushion-cut tourmaline (also blue and green in tone) sparkle. 

Another hero necklace is called Villanova. This is Van Cleef & Arpels’ take on antique Etruscan jewellery, worked in white and rose gold and adorned with nine cabochon rubelites. 

There are bracelets and rings too. A quartet of bracelets paints views of Italian cities in precious gems and metals. A Van Cleef & Arpels postcard, of sorts. 

Like this? Discover the best high jewellery collections at Paris Couture SS24

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The T&C Jewelry Grand Tour: Let's Go to Chatsworth, Shall We?

Before museums—or Instagram—one educated one’s eye through travel. A new collection by Van Cleef & Arpels seeks to honor that tradition, and inspire anew.

Who is she?

Van Cleef & Arpels calls the female figure in this one-of-a-kind clip Dea Eterna: Eternal Goddess. Real name: Hebe, the goddess of youth and daughter of Zeus and Hera. She was the one who brought heaping cups of ambrosia to the deities of Olympus, offering them sustenance and the fountain of youth. She was the inspiration for four sculptures by Antonio Canova, including the one below ordered by an English lord in 1814 and displayed at Chatsworth House.

Where are we?

History lesson, please.

Voyagers on the Grand Tour eventually came home, and when they did they brought back souvenirs and memories of their travels. Their experiences made a mark on jewelry design, reviving classical motifs and ancient goldsmithing techniques , as well as the use of cameos, intaglios, and micromosaics.

How did we get here?

This clip clearly reflects the classical inspiration discovered on the Grand Tour, but its mystical wonder is pure Van Cleef. The pieces in the collection all navigate between past and present. The lapis stone in the design connects it to its ancient uses, but the fact that the gold in the central figure is hollow, to reduce weight, reflects the practicality of modern life.

Van Cleef & Arpels Dea Eterna Clip from Le Grand Tour Collection.

Editor-in-Chief Stellene Volandes is a jewelry expert, and the author of Jeweler: Masters and Mavericks of Modern Design (Rizzoli).

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Ming Liu . Photography by Billy Ballard. Styling by Benjamin Canares. Model, Paula Soares

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A yearning for escape has taken hold of high jewellery’s maisons. Boodles embarked on a European tour, naming its high-jewellery suites after cities; the title of Harry Winston’s Majestic Escapes collection says it all; Louis Vuitton thrust us back billions of years to the start of evolution. Bulgari and Tiffany evoked a more singular sense of place with the beauty of the Mediterranean and the mysteries of the oceans.

And then there was Van Cleef & Arpels , which unveiled its own travel-themed collection in Rome on the day of the summer solstice. Le Grand Tour Raconté Par Van Cleef & Arpels revives the European journey that had its heyday in the 18th and 19th centuries, beginning in England with obligatory stops in Paris and Italy, often via Switzerland and Germany, before returning home. Lasting several years, the Grand Tour would be embarked upon by young aristocrats and the intelligentsia as a form of education and cultural enrichment. It makes sense for Van Cleef & Arpels to take on the theme, considering its own lust for travel: see its Egyptian-inspired jewels from the 1920s, its 1960s pieces that looked to India and Persia, or even the California-themed collection more than a decade ago.

Transformability is a house signature – so jewels won’t stay in the safe

“The Grand Tour is quite known in the UK but not so well known in France and even Italy. But then you tell people that tourism comes from the Grand Tour – and you get their attention,” says Nicolas Bos, president and CEO of Van Cleef & Arpels, who has long been fascinated by the tradition. That sense of discovery, or rediscovery, is apt for this collection: “It’s a bit of a tribute to the times when travel was knowledge.”

The 70-piece collection is themed around eight suites representing key destinations, from London to Baden-Baden. Rome’s Villa Medici hosted the launch. There are swishing, waist-long sautoirs hung with medallions and giant tassels; enormous clips that models threaded on silk belts and wore rakishly at the hip; and shoulder-grazing girandole earrings that evoke the ambitions of Renaissance jewellery . The Teatro ring is inspired by Rome’s majestic 55BC Teatro di Pompeo, featuring a 3.93ct Zambian emerald nestled in a circle of diamonds and play of golden steps. Or take the impressive Trésor Antique ruby and diamond chandelier earring, cascading with three large pendants: the jewel directly nods to a pair of Castellani earrings from the 1860s when the jeweller was inspired by archaeology and Etruscan art.

The jewel-tone waters of Venice make their way into the exquisite Chant Des Gondoliers necklace, set with 16 vivid turquoise cabochons, complemented by diamond-paved arches recalling the city’s low bridges. The maison pays further tribute to Italy’s cities in a quartet of gem-set Escale bracelets representing Venice, Rome, Florence and Naples, the mélange of luminous coloured gemstones laid in mosaic-like tableaux. Bos is particularly fond of this set. “It takes a rather wide bracelet as a rectangular canvas in a way, and uses it to feature a landscape,” he explains. “When worn, it strikes a good balance between the figurative – which evokes different cities – but also the abstract.”

Despite the historical references, the designs are distinguished by their modernity – many are transformable for multiwear. The Alps-inspired, tassel-style Fleuve De Glace pearl sautoir, for example, features detachable elements that enable the jewel to be worn in seven different ways, including two brooches, two bracelets and a shorter necklace. Transformability is a house signature: Van Cleef & Arpels’ historic Passe-Partout made a splash in 1938 for its ability to be worn as a necklace, choker, bracelet, belt or clip. Bos says that such engineering helps to ensure that what are essentially formal jewels won’t stay long in the safe. “They will be used, which is very nice.”

All of this year’s high-jewellery launches – unveiled at the start of summer and typically staged in exclusive destinations – have felt unapologetically escapist. This is because travel and luxury “both provide the same,” says Erwan Rambourg, HSBC’s global head of consumer and retail research, “to escape the day to day. The idea [today] is to think about things that are more positive, more aspirational, more fulfilling.” Global demand for private jets has risen more than 14 per cent since before 2020.

At the Van Cleef & Arpels launch, guests ambled through the sumptuous gardens, admiring jewels draped on performers in what was a notably private affair. “We are not looking for maximum impact and visibility,” says Bos. “I don’t care so much about getting hundreds of thousands of likes on an Instagram picture – I prefer to have 20 people attending a class at L’École [Van Cleef & Arpels’ own jewellery school] for the first time and really discovering our world.”

Model, Paula Soares at Select. Casting, Cococasting. Hair and make-up, Martina Lattanzi using Byredo and Kristin Ess. Photographer’s assistants, Edoardo Confort and Cristian Spaziani. Digital operator, Antonino Donato. Shot at Villa Medici, Rome

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High Jewelry Takes a Road Trip

Rather than the usual presentations in Paris, brands from Bulgari to Van Cleef & Arpels chose luxury locations to debut their new collections.

By Tina Isaac-Goizé

Reporting from Paris

Not long ago, the high jewelry presentations on and around Place Vendôme brought the semiannual couture shows to a dazzling finale.

This summer, however, many of the biggest fireworks already have happened, with brands from Bulgari to Van Cleef & Arpels introducing their most exclusive collections in exotic locations.

Major jewelry makers are increasingly adopting a fashion industry-like practice, choosing their own dates for elaborate events and then flying in top customers, influencers and editors for a couple of days of cocktails, canapés and cabochons. It all looks quite a lot like the extravagant cruise (or resort) presentations that have returned with a vengeance since the pandemic waned.

While the link between a high jewelry collection and the setting in which it is revealed can be tenuous, Luca Solca, a luxury analyst at Sanford C. Bernstein in Switzerland, wrote in an email that such events let brands pamper clients “beyond any level we know.”

“This is part and parcel of a deliberate escalation that mega-brands are driving to leave competitors in the dust,” he added. “You cannot afford a landmark flagship, major itinerant shows and high-profile V.I.P. entertainment at the four corners of the world? Then you cannot play in the premier league.”

This season the uber-luxury journeys started in May with Bulgari unveiling its Mediterranea collection in Venice.

The house took over the 15th-century Palazzo Soranzo Van Axel for a week, installing oriental carpets, jewel-tone custom fabrics by the Venetian company Rubelli and sculptures by the glassmaker Venini to create a lavish showroom. An interactive jewel-making experience driven by artificial intelligence was part of the entertainment, and NFTs were sold with jewels like the Yellow Diamond Hypnosis, a white gold serpent necklace coiling around a 15.5-carat pear-cut fancy intense yellow diamond.

The main event was a gala at the Doge’s Palace to honor the 75th anniversary of Bulgari’s signature Serpenti design, a celebration that began late last year and is to run through the first quarter of 2024. The brand ambassadors Zendaya, Anne Hathaway, Priyanka Chopra Jonas and Lisa Manobal of the K-pop group Blackpink joined guests on the palazzo’s balcony for a gem-laden runway show orchestrated by the fashion editor and stylist Carine Roitfeld.

Of the 400 jewels in Venice, 90 carried a price tag of more than one million euros, the brand said. And while Bulgari declined to comment on sales, the event seems to have been a social media hit: Three posts by Ms. Manobal chronicling her “unforgettable night in Venice” got more than 30.2 million likes while two posts of Zendaya in the Yellow Diamond Hypnosis totaled more than 15 million.

This season both Christian Dior and Louis Vuitton presented their largest high jewelry collections to date.

For its 170-piece collection called Les Jardins de la Couture, Dior created a runway on June 3 on a garden path at Villa Erba, the former Lake Como home of the Italian film director Luchino Visconti, and sent out 40 models wearing gems in floral themes by Victoire de Castellane, the house’s creative director of jewelry, and couture outfits by Maria Grazia Chiuri, the creative director of Dior women’s collections.

Deep Time, Francesca Amfitheatrof’s fifth high jewelry collection for Louis Vuitton, was unveiled June 13 at the ancient Odeon of Herodes Atticus, at the foot of the Acropolis in Athens, to a dance choreographed by Dimitris Papaioannou and an original composition by the classical violinist Renaud Capuçon. The 95-jewel presentation, the first chapter in a collection that is to total more than 170 pieces in all, included the white gold and diamond Wave choker with a 40.80-carat Sri Lankan sapphire. (And for the first time, the house introduced one-of-a-kind handbags in exotic leathers that matched the jewels.)

In Florence, Cartier transformed the garden at the Villa Corsini into a runway on May 24 to display 80 jewels, the first chapter of a new collection called Le Voyage Recommencé (in English, The Journey Begun Anew).

And on June 21, Van Cleef & Arpels went to Rome to reveal Le Grand Tour, 70 jewels inspired by the culture-seeking trips to the continent once made by wealthy Britons. It includes Escale Sacrée (in English, Sacred Stopover), an articulated bracelet that depicts Florence’s Duomo as a white- and rose-gold cathedral against a night sky of bead-set diamonds, blue and mauve sapphires, and black spinels.

While the extravagance (not to mention the carbon footprint) of cruise fashion shows has been raising eyebrows , high jewelry’s events haven’t drawn similar attention — at least not so far.

“There’s this fatigue around cruise collections because they’re about clothes,” said Bruno-Roland Bernard, a lecturer on financial and luxury management at the Institut Français de la Mode in Paris, “but high jewelry offers a way of creating extra excitement that’s complementary, valorizing and also highly coherent for the wealthiest clients.

“It’s a dream scenario because it corresponds to the clientele, it’s a positive vector of communication and it’s profitable,” he added. “What will be interesting is to see how it all trickles down to fine jewelry, as couture does with ready-to-wear.”

Some houses still have a few jewels left to show in Paris this week. Dior, for example, said it would present selected pieces alongside items from its couture, housewares, baby and accessories collections at a pop-up showroom on the Left Bank.

And Chanel, which introduced the second chapter of Tweed de Chanel in London early last month, confirmed it will show the new collection by appointment in the French capital, too.

The array, inspired by Coco Chanel’s signature material, includes the Tweed Lion, a white and yellow gold plastron necklace set with rubies, spessartites, yellow sapphires, spinels and diamonds. Its diamond-studded lion’s head may be detached and worn as a brooch or on a simpler necklace, while a 10.17-carat pear-cut diamond pendant also can be detached and worn in a ring.

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Le grand tour • France •

Morning : In the early morning, we leave the city of Paris . The train sets off for Reims , the promise of an enchanting escapade. The scenery flies by, anticipating the discovery of the city of kings and its sublime cathedral.

Afternoon : After lunch, the journey continues to Beaune , the jewel of Burgundy. The region offers some of its most beautiful scenery and polychrome roofs. We assist to a private tour to discover the unusual and secret sites of the famous Hospices.

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