In 1968, the Maison unveiled a true icon of luck: the Alhambra collection. Inspired by the four-leaf clover, its motif has endured, embodying the timeless style of Van Cleef & Arpels and the excellence of its savoir-faire. Fifty years after the creation of the first Alhambra long necklace, the Maison is presenting new creations that showcase the fluidity and elegance of the design. The iridescence of gray mother-of pearl is complemented by the sparkle of diamonds and the gentle glow of pink gold, while the deep black of onyx combines with white gold and diamonds. Alongside these dazzling associations of materials, two
exceptional models are adorned with lapis lazuli and two others with rock crystal, in homage to the beauty of the stones that have embellished the collection throughout its history. ICON OF LUCK To be lucky, you have to believe in luck, as Jacques Arpels Estelle Arpels nephew used to say. Luck is a quality that the Maison holds dear, guiding its footsteps and inspiring some of its most emblematic creations. Four-leaf clovers made their first appearance in Van Cleef & Arpels records in the 1920s. Throughout the years, they mingled with wooden talismans, lucky charms and benevolent fairies. A born collector, Jacques Arpels gathered four-leaf clovers in the garden of his house in Germigny-l Évêque, presenting them to his staff accompanied by the American poem Don t Quit, an encouragement to never give up hope. In 1968, the Maison created the first Alhambra long necklace, inspired by the shape of the four-leaf clover. A harmonious token of luck, it was made up of 20 motifs increased gold, delicately edged with golden beads. The symbol was an immediate success, establishing itself throughout the world as an icon of luck and emblem of Van Cleef & Arpels.
SPIRIT OF AN AGE Created by Van Cleef & Arpels in 1968, in keeping with its tradition of excellence and savoir-faire, the Alhambra long necklace captured the spirit of the age and introduced new ways of wearing jewels in everyday life. Fifty years later, it stands as a reference that has profoundly influenced the history of jewelry. Nicolas Bos, President and CEO of Van Cleef & Arpels. When the Alhambra long necklace was created by Van Cleef & Arpels in 1968, it took up its place in the Paris La Boutique range, which offered easy-to-wear pieces that were more accessible than High Jewelry. La Boutique opened in 1954 at 22 Place Vendôme the Maison s historic address and in 1957 in New York, at 774 Fifth Avenue. Among the models that established its reputation were the famous animal clips with their humorous designs introduced in 1954, they included the Chat malicieux and charms on the theme of Paris. The same year as the Alhambra long necklace, the Philippine rings were launched: bangles of hard stone or coral set with diamonds at their centers, they were a resounding success.
With its bold combinations of materials, colors and stylized forms, this day jewelry was in tune with the developments in fashion and wearing habits that marked the late 1960s and the 1970s. Long necklaces in yellow gold, malachite or lapis lazuli were accompanied by chain bracelets and large pendants. Stacked and accumulated on the fingers or round the neck or wrist, the Maison s creations accompanied the fluid silhouettes of the era day after day, in combinations of vivid or sun-like colors. Jewelry reassumed a tactile, talismanic quality, as evidenced by this advertisement from 1977: At La Boutique Van Cleef & Arpels, 22 Place Vendôme, you will find sensitive jewels, tender jewels, meaningful jewels. And faithful jewels that will never leave you. THERE ARE SIGNATURES FOR WHICH ONE CARES As Van Cleef & Arpels advertisements often emphasized from 1961 onwards: There are signatures for which one cares. While the Maison s name is synonymous with quality and refinement, that of the Alhambra collection is remarkable for its enduring evocative power. Resonating today as it did then, it brings to mind an imaginary world of travel and enchanting scenery. The attraction of elsewhere is typical of the creations of the period. The Arpels brothers numerous voyages during the 1960s and 70s breathed new life into the far-flung influences long cherished by the Maison: the Far East, Japan, China and India. The names of various pieces refer to exotic destinations or fashionable holiday resorts, such as the Cachemire clips, Osaka pendant, Dodécanèse necklace, Ibiza long necklace and Bahamas bracelet. EXCEPTIONAL WOMEN Numerous feminine personalities adopted this new icon, which blended timeless elegance with a contemporary feel. In 1974, Françoise Hardy was photographed wearing Alhambra creations: two long necklaces graced the neck of the French singer. The collection also attracted such exceptional actresses as Romy Schneider, who notably wore an Alhambra long necklace in Michel Deville s film Le Mouton Enragé.
Set with diverse materials, the Alhambra long necklace took on a multitude of guises in Princess Grace of Monaco s collection. Alternately in yellow gold, coral, lapis lazuli or malachite, this emblematic creation accompanied the elegant Princess throughout the 1970s in various public and private occasions. ELEGANT ASSOCIATIONS OF MATERIALS Fifty years after creating the first Alhambra long necklace, the Maison is celebrating this iconic piece with new models that enrich the permanent collection. On a Vintage Alhambra long necklace and bracelet, accompanied by Magic Alhambra earrings, the overtones of gray mother-of-pearl and the sparkle of diamonds combine with pink gold in a gentle variation of shades. Featuring the same alternating motifs, a Vintage Alhambra long necklace and bracelet are embellished with onyx, contrasting with the glitter of diamonds and white gold.
In keeping with the Alhambra collection s original aesthetic, the motifs are adorned with a delicate beaded contour emblematic of Van Cleef & Arpels savoir-faire, while a central golden bead adds a note of roundness to the set versions. A RARE PALETTE In homage to the palette of materials that has enriched the Alhambra collection over the years, the Maison is unveiling four exceptional models, available in small quantities. These pieces in yellow gold showcase lapis lazuli and diamonds on the one hand, and rock crystal on the other. Made up of a Vintage Alhambra long necklace and bracelet, the creations reveal two distinct styles, founded either on contrast or limpid clarity. The deep blue of lapis lazuli is enhanced by the sun-like radiance of yellow
gold and the clarity of diamonds, while rock crystal creates subtle interplays of transparency, illuminated by yellow gold.
Onyx Employed since Antiquity and particularly in vogue on Art Deco jewelry, onyx is today one of the most sought-after hard stones in Van Cleef & Arpels jewelry collections. The Maison mainly uses onyx from Brazil, which stands out for its deep black color and polished surface that reflects light like a mirror. Gray mother-of-pearl One of the Maison s favorite materials, mother-of-pearl is produced naturally inside sea shells. Captivating gray motherof- pearl reflects the light with a subtle iridescence, its sheen evoking femininity, gentleness and protection. The gray mother-of-pearl used by the Maison comes from French Polynesia; it is notable for its harmonious silver-gray shades, regular surface and sheen of the highest quality. Diamond The very word diamond from the Greek word adamas, meaning invincible is enough to evoke this mineral s extraordinary properties. A crystal of pure carbon, its hardness, transparency and sparkle have fascinated mankind across civilizations and throughout history. Whether as a symbol of heroism or a talisman to reconcile couples or bring a long life, this precious stone has often been associated with protection, purity and immortality. A diamond is offered as a token of undying love. The Maison selects its diamonds according to the strictest criteria, only using stones with a color rating of D, E or F and clarity of IF, VVSI or VVS2. They endow Van Cleef & Arpels creations with exceptional brilliance. Lapis lazuli Its name comes from the Latin word lapis meaning stone and the Arab azul (blue). Described in ancient times as a star-studded sky, the stone captivates with its intense blue flecked with pyrite. In Egypt and Mesopotamia it was used to craft lavish objects (cylinder-seals, animal statuettes) intended for royalty. The stones chosen by Van Cleef & Arpels are remarkable for their pure and intense color, along with their perfect sheen.
Rock crystal Rock crystal belongs to the family of quartz a mineral composed of silica and refers more specifically to colorless quartz. Its name comes from the Greek krystallos meaning cold as ice and evokes an ancient belief whereby rock crystal is formed by freezing. This extremely limpid material often reveals inclusions, which sometimes resemble frost. Van Cleef & Arpels chooses the most transparent stones for its creations, with a slightly milky aspect that endows each motif with unique character. White gold With its understated and luminous appearance, white gold suffuses the Maison s creations with a timeless elegance. At the workshops, the metal is carefully polished and rhodium-plated to bring out its full brilliance. It is highly sought-after for the purity of its reflections and is a perfect complement for diamonds, highlighting their sparkle. Yellow gold Associated by numerous civilizations with the sun and divinity, yellow gold has been used by mankind since the most ancient times, notably for royal and sacred objects. Worked into golden beads or carefully polished, the Maison s 18-carat gold maintains its prestigious luster year after year. Pink gold Evoking tender feelings, the pink gold used by Van Cleef & Arpels is a subtle alloy of gold, copper and silver, unique to the Maison. Delicately polished, it gently reflects the light to grace the pieces with a warm and feminine glow. EXCELLENCE AND SAVOIR-FAIRE In keeping with Van Cleef & Arpels tradition of excellence, the Alhambra collection embodies all the expertise of a High Jewelry Maison. The varied skills of lapidaries, jewelers, stone-setters and polishers come together to create each piece. Ever inspired by nature, the Maison has sought out the most beautiful materials she has to offer. Just like the diamonds, the mother-of-pearl and hard stones have been chosen according to the very highest standards of quality. They are meticulously cut before being polished to reveal all their nuances and sheen. Gold is then melted to give form to the beaded setting, which is afterwards hand-finished by the jewelers. The motif may then be united with its gold case, whose prongs are delicately set in place. On Vintage Alhambra motifs with diamond paving, stones of different diameters in grain setting create a play of light around a golden bead. The openwork honeycomb structure accentuates the brilliance and lightness of the piece.
A final polish brings out all the luminous beauty of the ensemble. In all, no fewer than fifteen successive steps of selection, crafting and quality control are required to create an iconic jewel that will stand the test of time. THE ALHAMBRA COLLECTION THROUGH THE AGES A genuine icon of jewelry, the Alhambra collection has constantly renewed itself over time. It has taken on a broad palette of natural materials and adopted a variety of symbols, colors and different-sized motifs.
Complementary perspectives on the Alhambra collection Fifty years after the creation of the first Alhambra long necklace, Van Cleef & Arpels is teaming up with author and journalist Nicholas Foulkes, as well as the Editions Xavier Barral publishing house, for a look back on the emergence of this iconic collection. Created in the late 1960s a decade that revolutionized fashion and society as a whole the first Alhambra long necklace immediately appealed to women. Celebrities and sophisticates wore it, layered it and wrapped it in manifold colorful rows. The pages of Alhambra tell this fabulous story, a tale intimately linked to the creation of the modern silhouette. Presenting documents from the archives of the Maison Van Cleef & Arpels and key cinematographic sequences composed by distinguished photographers, the book recounts the influence of the new lifestyles that characterized those years, with the Alhambra collection as a perfect reflection of the period. NICHOLAS FOULKES A graduate of Hertford College, Oxford, Nicholas Foulkes is an author and historian. He has published some two dozen books on history, the arts and style. His books include a trilogy of 19th century histories: Scandalous Society, Dancing Into Battle and Gentlemen and Blackguards. A true London dandy, he is fascinated by watches and among the books he has written on horology is the official history of Patek Philippe (Random House, 2016). He is also fascinated by jewels, their history and their making. He has written definitive accounts of the great jewelers Hiroshi Mikimoto (Assouline, 2008) and Nardi (Assouline, 2012).
He has written two books on cigars and was named Havana Man of the Year in 2007, a title awarded by the Cuban government. In 2016, he published an acclaimed biography of the painter Bernard Buffet (Random House). Nicholas Foulkes is also a journalist, contributing to numerous newspapers and periodicals including Vanity Fair, the Financial Times s How To Spend It magazine, GQ and Country Life. Alhambra. Text by Nicholas Foulkes. Éditions Xavier Barral / Van Cleef & Arpels. Format 22.5 x 29.5 cm. Hardcover book. Approximately 224 pages. Approximately 150 images. To convey the Alhambra universe through a poetic lens, the Maison called on artists and creators to embark upon a personal exploration of the creations. A longstanding friend of Van Cleef & Arpels, photographer Valérie Belin shares her vision of luck and the Alhambra long necklace, a piece she captured on two occasions during collaborations with the Maison. The theme of luck comes to life thanks to the duo of directors Burcu & Geoffrey, while illustrator Julie Joseph offers a dreamlike interpretation of the savoir-faire embodied in the collection. Finally, the Maison called on photographers Sonia Sieff and Damian Foxe for two series of images portraying the Alhambra collection in a contemporary light. VALÉRIE BELIN The work of photographer Valérie Belin focuses on the body and the boundary between the living and the inanimate. With no context, no decor and a systematically neutral background, grounded in an exacting seriesbased method with surgical precision, her work blurs idiosyncrasies to present a smooth, impersonal, artificial and standardized take on beauty. It challenges stereotypes, conventions and representational codes in society, the media and cinema, as well as those conveyed by fashion, the luxury industry etc. with highly pictorial explorations of people and things. Valérie Belin s work, part portrait, part stilllife, examines the mimetic qualities of art: Photography is much more than a means of representation. It lets me probe the ephemeral borders between reality and illusion, thus revealing the profoundly supernatural nature of my work. EXCERPTS FROM DIRECTOR LOÏC PRIGENT S INTERVIEW OF VALÉRIE BELIN (2017) Her vision of luck For me, luck means giving people a chance. You are never simply lucky; there is always someone who gives you a chance. There are people who gave me my chance on many occasions, telling me Go ahead, do what you have to do, I trust you. Today I am an artist, but I also guide young people as a teacher. My most treasured moments are when my students express their gratitude for giving them the chance to do what they had to do (...). That is luck. It is a twinkling, an elusive bolt of lightning. It is almost nothing, yet it can completely transform a life.
Her vision of jewelry Why have women always worn jewelry? I think it is to give them strength. Jewels are like good luck charms. They stay with us and instill us with their energy. When a woman wears a piece of jewelry, her self-confidence grows because its beauty imparts a certain strength. For me, Van Cleef & Arpels jewelry possesses that magic realism. Her work on the Alhambra long necklace in 2017 Here, for the first time in my work, the long necklace was worn. It was no longer a simple object, photographed for its geometric structure or the beauty of its details; it was around the neck of a young woman whom I asked to pose in a full-frontal position. She was standing, arms nearly even with her body, and she was looking at me. That was what most struck me: photographing this figure like a jewel case, like a statue, a bust. She was a kind of Nefertiti, a goddess wearing that necklace as if it were part of her. BURCU & GEOFFREY This Franco-Turkish duo of directors is made up of Burcu, a young woman with a passion for illustration and design, and Geoffrey, a 3D animation enthusiast driven by the full technical dimension of this art form. Together, these two directors, both Supinfocom graduates, create 3D animations that combine multiform details and colorful universes, along with a highly graphic 2D aspect. They have directed films such as Tant de Forêts, a short included in the Jacques Prévert collection entitled En Sortant de l École, broadcasted on France 3. The film won the Cristal Award for the TV
category at the 2014 Annecy animation festival. The team has since continued to work on personal and sponsored projects that often present a playful portrayal of nature. 3 QUESTIONS FOR BURCU & GEOFFREY What was your inspiration in the Van Cleef & Arpels universe? When we plunged into the Maison s collections, we immediately distinguished recurring themes, particularly nature, vegetation and animals, with a multitude of birds and floral motifs that inspired us. Nature is a special theme for us, and it often comes out in our projects. As a result, we felt at home in the Maison s universe, where we also admired the variety of colors, shapes and materials. These are aspects we ourselves commonly play on. Are there common features that link your creations to those of Van Cleef & Arpels? Indeed, attention to detail. We like to design our shots like paintings, and we take the time to perfect even the smallest detail to ensure balance both in the composition and the color palette. Our images are generally very elaborate, with features that stand out through shapes drawn in a clear and simplified manner. For instance, when we create vegetation, the overall effect may appear profuse, but we always strive to establish a certain order and composition in the motifs we juxtapose. This attention to detail is obviously prevalent in jewelry, where the medley of stones and other materials engenders an orderly and coherent whole. What do you take away from this collaboration with Van Cleef & Arpels? How would you describe the film you created?
This collaboration was an opportunity to discover a type of savoir-faire and a world that was thoroughly unknown to us. It was a highly enriching experience. The idea of creating short sketches on the theme of luck appealed to us right away, and we had great freedom to make the subject our own. It was almost like a personal project! In the end, the film lets viewers discover the Alhambra collection as they wander through the decor following a butterfly. We introduced the idea of combining the four-leaf clover and the butterfly in a single feature. The butterfly then sows luck in its path, with a sensation of lightness and poetry. JULIE JOSEPH Julie Joseph holds a Master s Degree in graphic communication from La Cambre (École Nationale Supérieure des Arts Visuels, Brussels) and specializes in artistic direction, animation, graphic design and illustration. Her work was displayed at the SOLID(S) exhibition, organized as part of the Saint Gilles Parcours d Artistes initiative, and subsequently by THE PARISIANER for the 2016 Post Card from Paris exhibition at the Untitled Factory Gallery in Paris. Julie Joseph lives and works in Brussels. She works with Le Monde, L Obs, 180 C, while also creating animations and illustrations for video clips, posters and illustrated books.
3 QUESTIONS FOR JULIE JOSEPH What particularly roused your imagination in the Alhambra collection? In my work, I enjoy telling stories centered on particular objects. In this case, I wanted to convey the story of the creation and fabrication of the Alhambra collection, fashioning a universe that inspires dreams. It is as if each piece conceals a secret and magical ritual that is revealed in the film. I tried to accentuate the emotions aroused by this journey, which begins by exploring an unknown land in search of the finest stones. They are then presented to the Mains d Or, who symbolize savoir-faire as an overarching theme. Then comes the final stage of transmission. What struck you when you discovered the manufacturing process in the workshops? I was fascinated with the exacting work of the craftsmen you call Mains d Or. These Golden Hands bring the jewelry to life: the various steps in the process are monitored one by one, with nothing left to chance. At the same time, there is a unique, human dimension behind each piece. I was particularly impressed by the process of creating the mold to produce the matrix. It seemed virtually magical. It was a sort of birth, a transformation the birth of jewelry. Your universe is highly dreamlike, with abundant references. Please tell us how you work. I am steeped in ancient culture, archetypes ranging from folk tales to religious icons, from Renaissance art to Flemish painters and even archaeological finds. They are treasures that I try to bring back to life, as if I were a collector with an imaginary cabinet of curiosities where I could fish out wonders to blend together. I see myself rather like a collage artist, since I regularly select images from old engravings, incorporating them into my universe and giving them a second life. That is what drives me.
SONIA SIEFF The daughter of Jean-Loup Sieff and Barbara Rix, Sonia Sieff is a talented photographer and fashion filmmaker in her own right, who broke free from her heritage by imposing her own style. Her vocation emerged at the age of 17, through her travels. She began working on film sets with renowned cinematographers before focusing on fashion photography. In recent years, she has collaborated with numerous French and international magazines, such as Vogue, Vanity Fair, The Telegraph and Le Monde, to name but a few. Sonia s style is marked by a love of light and its masterly use, as well as an obsession with character traits, the body, and nudity. Her work encompasses a sense of storytelling, as does her way of positioning bodies, observing them, and revealing them with light. Returning to her first love the cinema she developed her talents as a director of short films. Her film and photos for the Révélations 2016 project presented the 34 newcomers nominated by the French César film academy. In 2017, she released her first book, Les Françaises, featuring 155 photographs of female nudes, published by Rizzoli. An accompanying exhibition of selected images from the book was held in Paris, Marseille, Brussels and Munich.
DAMIAN FOXE Damian Foxe has been fashion director on the Financial Times How To Spend It magazine for almost a decade. An alumnus of Central Saint Martins, he graduated with an MA distinction in fashion journalism and was almost instantly offered a job as fashion writer on Time Out magazine. His career in fashion, as a writer, then a stylist and creative director and in more recent years a photographer, spans more than 25 years. Foxe devotes himself entirely to his work, in his personal quest to create what he sees as timeless fashion photographs. My imagination is filled to bursting with images that have danced around inside my head, every minute of every day, since as far back as I can remember. I feel compelled to externalise them, says Foxe.