Vionnet’s cobalt-coloured collar necklace duplicates the sail-like structure of the Burj Al Arab, the world’s most luxurious hotel. The building’s creator, British architect Tom Wright, completed the beloved icon in 1999, after becoming inspired by the traditional Arabian sailing vessel, commonly known as the dhow.
Architecture has influenced graphic jewellery for centuries. The crown worn by Princess Blanche, daughter of King Henry IV, on her wedding day is the oldest surviving royal headdress known to have been in England. Dating back to the 14th Century, its spectacular solid gold framework is generously studded with cerulean sapphires, cardinal rubies, vibrant emeralds and brilliant diamonds. The bejewelled circlet marks a significant cornerstone in high jewellery design. Despite resembling the traditional fleur-de-lys, which was common among European royalty, the intricate construction of hexagonal shapes and enamel openwork boasts first-rate architectural qualities, which was groundbreaking for the time.
“There has always been a strong relationship between architecture and the human body,” reveals architectural designer Alice Dammery. “Both involve creating a structure to fit a specific context. For example, the brief for Falling Water by Frank Lloyd Wright involved constructing a home over a site with a waterfall – its cantilevered floors and monolithic concrete slab structure coming out of the landscape is site specific, in the same way a cascade of diamonds hanging over a woman’s chest in the form of a necklace is made for the site, only the site is the human body.” She adds, “Many historical buildings can also be seen to mimic the body. For example, in Ancient Greece columns took the shape of human beings.”
Taiwanese artisan Cindy Chao is one of the most sought-after contemporary high jewellers in the world. Her exquisite one-of-a-kind, hand-made creations boast breathtaking depth and movement using various sculptural dimensions. Although Chao spent six years studying jewellery design in America, she credits her family with her artistic talent and subsequent success. Her father was a sculptor and her grandfather an architect. “Growing up with a heritage of sculptors and architect predecessors, I have always seen jewellery as miniature pieces of sculpture,” she tells MOJEH. “Organic structures, lighting, space and engineering all work together to bring out a vitality, a unique energy, in each piece.”
Louis Vuitton, Chanel and Christian Dior feature sculptural jewellery in their latest costume collections^
Her signature is hand-sculpting wax, which gives gem-encrusted pieces a three-dimensional effect. An advocate of titanium, which is extremely lightweight and strong, Chao constructs each creation using methods that are similar to how an architect would design an installation. “My father taught me to view the world as an artist. Each perspective has a different view, and he taught me how to use my mind to will and guide my hands.” She also ensures that the jewels encompass the entire piece, including the back, which only the owner will see. “By utilising a 360-degree gem-setting technique, art jewels and diamond sculptures gleam with a lively, organic spirit,” she reveals.
Chao’s collections feature extreme extravagance and are likely not what comes to mind when one thinks of architectural jewellery, which is “often considered minimalist and simple,” says Dammery. “This isn’t always the case. Perhaps people think that’s what architectural jewellery is, but in my opinion they’re missing the point entirely.” For Dammery, it’s the design quality that differentiates a sculptural creation from an ordinary piece. “Architectural jewellery begins with the way the designer has been taught to think, as well as the engagement between the wearer and the body art. The use of volumes, textures and layers conceptually work together with the body to portray an art form.”
Nonetheless, there’s a time and place for fat pearls and dripping diamonds, and during daylight hours the majority of us opt for a subtly stylish look with barely-there adornment for extra effortless finesse. High jewellery connoisseurs such as Chao produce spectacular creations that boast the utmost in quality and sophistication. The exclusive Archi Dior collection, for example, created by Victorie de Castellane, celebrates the iconic designs of Christian Dior, who defined himself as a couturier “who respects the laws and principles of architecture”. However, jewellers that specialise in costume jewellery often also possess and utilise architectural capabilities and techniques. It’s surprisingly difficult not to make parallels.
In fact, often costume jewellery is more likely to feature contemporary, futuristic designs one would more likely associate with architecture. German artisan Ute Decker’s abstract coils and Kuwaiti jeweller Alanood Al Sabah’s octagon-shaped twists are particularly structural and clean-cut. This season Louis Vuitton, Dior and Céline’s runway models sported armfuls of polished metal bangles, as well as thin stacked rings and geometric pendants. Loewe, meanwhile, unveiled a plethora of oversized sculptural bracelets, as well as anklets, that resembled Ikebana-inspired gilded arum lilies. Tight, taut lines make for a dramatic statement with no frills. It’s official: Strong shapes are in.
Ralph Masri’s interlocking arabesque patterns and geometric shapes combine fervent attention to detail with a strong emphasis on artistry and craftsmanship. “With architectural jewellery, clean lines and symmetry are everything,” he argues. “The challenge is getting that right so that the pieces don’t feel disproportionate.” His designs, which are available at S*uce Rocks in The Galleria Mall, Dubai, “always have a story that reflects what inspires me”. Architectural jewellery, he explains, is particularly popular in the region because Middle Eastern clients indulge in “the idea that they are wearing a mini-sculpture”. Dammery strongly agrees. “For me, jewellery pieces are just like small architectural models, which are essentially buildings.”
The long-established relationship between architecture and jewellery is an examination of mankind, or rather human nature. Both seek to demonstrate superiority over others and each, in their own way, deliver cultural messages and often challenge societal norms. “We all want to be unique in a capitalist, globalised world, where every second person – subject to affordability – has a pair of Swarovski earrings,” contends Dammery. “Nobody wants to be a clone of everyone else, so perhaps this is why architectural jewellery has seen an increase in popularity and attention. It’s bespoke and this is an attractive quality. It’s also a stand against the world of mass production, which we live in.”
A growing number of jewellery brands are taking inspiration from architecture; including the Danish design house Georg Jensen who collaborated with the late Zaha Hadid. A pioneer for female creatives, Hadid won various awards for her visionary designs, including the Wangjing Soho near Beijing, which is renowned for its three curved sails that evoke the image of carp swimming in a pond. The collection’s heavily influenced by her iconic aesthetic and features the same fluid lines and sweeping curves as many of her buildings. Simple and sculptural, spare and highly sought after, each utilitarian piece is worked in polished silver.
To the uneducated eye, these minimalistic treasures may not look like much and are often passed over in favour of something more ostentatious. “Architectural jewellery with, for example, an art deco influence, such as cocktail rings from the Twenties prohibition era, may look simple, but they’re far from it,” explains Dammery. “Their bold colours and clean shapes were designed extraordinarily large with the intention of them being used as conversation starters during intimate dinner parties. They’re an electric blend of styles and there’s nothing simple about that. Combining elaborate zigzags, circles, rectangles, squares and other polygons is extremely complex and takes great skill.”
The majority of artisans have roots in traditional jewellery making, but technology and computer-aided design tools are encouraging architecturally-curious designers to become more adventurous. 3D printing has already been used extensively in fashion – especially Haute Couture – and lasers can also be used to cut exquisitely intricate and detailed shapes for jewellery. Consequently, easily stackable and endlessly wearable pieces are becoming even more versatile. The majority of Hadid’s collection is reversible, while Danish-based jeweller Maria Black’s sleek Scandinavian designs work in multiple ways; a simple cuff may have a discreet flourish that can be detached and worn as a piercing.
Many high-end jewellers are now recognising the sophisticated woman’s penchant for fine jewels, and are taking this opportunity to launch sculptural collections. In most instances, the influence of architecture is subtle – sometimes it may be pure coincidence – although in many cases a piece will deliberately reference a specific building or technique. Those who work in these divergent industries evidently share an outlook and understanding, which suggests that there are insights to be gained by examining their convergence. Both work within the same artistic spectrum and, if this season’s runways were anything to go by, architecture has always and will continue to instruct and inform the contemporary maison.
