Shourouk Rhaiem among the pieces from her exhibition at the Galerie Pixi – Marie Victoire Poliakoff in Paris
“It all started with Ricoré coffee,” smiles Shourouk Rhaiem. “Growing up, we would watch their commercials, hypnotized by the scenes of this perfect family. I wanted that family more than anything. My parents were always fighting.” Seven years ago, the Tunisian-French jeweler and artist began applying crystals to a Ricoré coffee container, covering it entirely until it shone as brightly as the image of familial unity she held to the highest esteem — a family that belonged, and had its place in society. She would do the same with dish soap, detergents, and boxes representing the perfume her mother wore — Eau de Rochas and Poison by Dior. Today, all these household items are placed on shelves, their Swarovski crystals catching the light at the Galerie Pixi – Marie Victoire Poliakoff in Paris’s Saint-Germain neighborhood. It’s Rhaiem’s first ever art show, and at the evening’s dinner, loyal friends like Aline Asmar d’Amman, Ara Starck, Gabrielle de Taillac, and Lamia Ziade are chatting animatedly. Most of her pieces have sold.
Bringing style to the aisles with the Aligre crystal bag
It has now been 13 years since Rhaiem’s namesake brand began creating impeccably made costume jewelry and art pieces. “When we started Shourouk, we were showing at a prêt-à-porter fair in Paris. First Lady of France Bernadette Chirac visited my booth. It brought us luck and just afterward, we were selling all over the world. A few years later, American First Lady Michelle Obama asked me to create a special piece for her — a jeweled belt for her voyage to Europe.” There have been numerous highlights in Rhaiem’s sparkling career: collaborations with Jean Paul Gaultier, Philippe Starck, the Paris Lido, and Sephora. Her work has appeared on shows like Scream Queens, Sex and the City, and Gossip Girl. Swarovski asked her to create an art installation at its Vienna flagship. “I was stunned by all the supportive people looking at it with a spark in their eyes. Finally, my idea to crystalize the world had found an audience,” she says.
Over the years, Rhaiem has searched for inspiration in farflung locations. India has always held a special place in her heart. “My love affair with India began when I was a young girl, watching a Bollywood movie named Disco Dancer. I later had the chance to visit India and I was enraptured with Rajasthan — the beauty, the colors, the people. My collections have been inspired by the Maharaja lifestyle and I have even collaborated with Indian artisans.” Recalling her early days, working for John Galliano, she adds, “He sent me to India to supervise the embroideries for the dresses for his show; India has always been a part of me.”
Yildiz Pink earrings from Rhaiem’s Fall/Winter 2022 collection
Rhaiem’s newest jewelry collection references cinema via an allegory of Elizabeth Taylor on an impromptu food shopping spree — with all the fruits and vegetables turning to jewelry. Today, she seeks to balance the paths between her jewelry and art. “To me, it’s two sides of the same coin. Of course, the goal of jewelry is to create a successful brand, but in terms of art becoming credible, as you can imagine, it’s very challenging. She offers that a future aspiration is an art exhibition in Dubai. “I have a strong feeling that my sparkling universe could fit there,” she says. Rhaiem’s voice always has a ring of optimism to it — today, even more so. Atop the table lit with candles is a unique art piece — a bag that reads ‘Just Married.’ It belongs to Rhaiem, whose very new husband Carl is sitting across from her speaking with Starck. “I became the woman I wanted to be,” she affirms. Indeed, any young girl walking down the Rue de Seine that day and catching a glimpse of Rhaiem — fresh-faced, flashing emerald crystal earrings, laughing among her guests — would think, “What a perfect life.”
Originally published in the July/August 2022 issue of Vogue Arabia
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Shourouk Rhaiem among the pieces from her exhibition at the Galerie Pixi – Marie Victoire Poliakoff in Paris
Academy Award-winning actress Julia Roberts arrived at the Cannes Film Festival to discuss a meaningful new role close to her happy heart.
Julia Roberts in Chopard at the Cannes Film Festival 2022. Photo: Giulia Parmigiani
“I never thought I would have a new godmother at 32 years old, let alone that godmother be Julia Roberts. It’s all a bit surreal,” remarked British actor Jack Lowden to a delighted black-tie crowd at the Carlton Hotel. Both Lowden and fellow laureate, Ugandan-British actress Sheila Atim appeared to fully grasp the gravitas of the evening — a Chopard gala during the 75th Cannes Film Festival to honor their acting skills. Roberts, effortlessly elegant in a couture Dior bar suit and skirt with hair pulled back in a clean bun had been called up to the stage moments earlier to present the actors with their respective awards — the Trophée Chopard. Twenty-one years in the making, the trophy honors up and coming actors with “godmothers” of the likes of Helen Mirren, Charlize Theron, Cate Blanchett, and Jessica Chastain bestowing the winners with their prize. Chopard has now supported the film festival for 25 years; since its artistic director and copresident Caroline Scheufele redesigned the Palme d’Or — the festival’s highest prize awarded to a film on closing night. On this evening, the air was electric, with Roberts engaging guests with her megawatt smile, inspiring everyone to stand a bit taller, laugh a bit heartier, and stay a bit later. There was no mistaking that there’s “something about Julia.”
Julia Roberts with Caroline Scheufele on the red carpet of the Cannes Film Festival 2022
“I was a wreck last night, I was an absolute wreck,” insists Roberts, taking a sip of her espresso on the Chopard privatized rooftop of the Hotel Martinez the following day. She is sitting on a couch before a table laden with fruit and juices. It overlooks the sea, peppered with yachts. Overhead, helicopters appear like gargantuan flies charting people from Cannes to Monaco. Her signature wavy hair is loose and voluminous. Once more, she’s dressed void of chichi in an all-black pantsuit and flat brogues — not that her business outfit could cloak one iota of her star power. “When we first got out of the car, we were all standing at the beginning of this endless path that we had to take,” continues Roberts. “I turned to Jack and said, ‘Oh my god, my heart’s beating a hundred miles a minute, how about you?’” she says, chuckling at the memory. “Even at the dinner, I’m nervous because I want — particularly Jack and Sheila — them to feel my admiration and I want to be able to express the true feelings that I have,” she says, adding that even her face was flushed. Roberts admits that she gets nervous before any such situation. “That’s part of it,” she admits. “That excitement is still so terrifying but thrilling. I don’t think you should be blasé on the red carpet at the Cannes Film Festival.”
Roberts is unafraid to show her innate vulnerability; a stalwart trait that has become a signature of her work in films like Steel Magnolias, Sleeping with the Enemy, Hook, Notting Hill, and Erin Brockovich, to name but a few. “Vulnerability is the superpower to observe vulnerability, understand it, portray it,” says Roberts. “It’s this special thing and everybody feels it in a unique way; and different things make all of us feel vulnerable. It’s this funny, little, special snowflake that we each have that’s different.” Roberts’s vulnerability is the kind that draws in crowds by the millions, making her one of the most bankable stars (male or female) of recent times. She earned an unprecedented $25 million for her role in Mona Lisa Smile (2003) and signed a reported five-year contract with Lancôme for $50 million. Collectively, her films have earned in the billions at the box office.
Julia Roberts as Elizabeth Gilbert in Eat Pray Love
There are some 20 people silently milling around Roberts at the time of this interview. However, she still manages to give the impression of leading a down-to-earth life with her husband-of-20-years Danny Moder and their three children. She’s known to support charitable organizations like UNICEF and Conservation International. Her commitment to the Chopard Trophy is a further act of community. If power in cinema has been hotly debated over the past few years with the Me Too movement, Roberts considers power to be rooted in service to others. “Even at my age, I’m open to any source of encouragement,” remarks the actress who is 54 and whose career spans over 30 years. “We all sort of get fatigued, or we question ourselves,” she states. “So, it’s times like this when we can encourage one another and help people feel valued in what they’re doing and the choices they are making. At events, you meet people in passing, and you don’t get to share time in a unique way anymore. They’re both [Lowdon andAtim] such great people and I’ve really enjoyed getting to know them. It’s been a quick trip but meaningful.” An assistant appears with Roberts’s lavender-hued sunglasses. The actress acknowledges her with a gentle, “Thank you, my love,” before finishing her evening recap. When Roberts did arrive on stage, rows of eager guests lifted their hands in the air, all clutching a phone to capture one of the greatest living actresses. Firmly, Roberts asked them to take their pictures, and then please put their phones away. “I understand it,” comments the actress. “I think that’s the thing — when you’re in a movie theater, you’re not on your phone, you’re not talking, you’re having this shared focus on one thing and that’s what makes it so special and that’s why we all love it and go back to it again and again.”
Chopard diamond brooch
Cinema is a great love shared with Chopard’s Scheufele. “One of the things that I think is so great about Chopard — they don’t just make beautiful things, they are inspired by different things,” states Roberts, who began her collaboration with the maison a few years ago, when Scheufele asked her to star in Chopard’s Happy Diamonds jewelry campaign. “City Lights (1931, starring Charlie Chaplin) is one of Caroline’s favorite movies,” offers Roberts. “The Dior silhouette of once upon a time — I felt so girly — was the perfect template to then wear this fantastic brooch.” The diamond rose brooch is a high jewelry nod to the one Chaplin wore in his movie. Meanwhile, to attend the earlier red-carpet screening of Armageddon Time, Roberts donned a black tailored jumpsuit and accessorized it with another Chopard jewel — one of its 75 Red Carpet Collection pieces presented at Cannes — a sparkling necklace made with ethical gold and featuring a yellow diamond weighing over 100 carats.
Roberts agrees that she has a certain chemistry with the family-owned Swiss high jewelry maison. She wasn’t always certain it would be the case. “You never know. I always say, everybody can be nice at lunch. Over time, you don’t know if that alchemy is going to hold or how it’s going to come together. The first time we made this film with Xavier [Canadian director Xavier Dolan] we entered the same room, started talking, and I was just like, ‘Where have you been all my life, this is going to be so fun.’” Roberts snaps her fingers for emphasis. “We proceeded to work for 12 hours, going full speed, happy as clams — all of us.” She recalls the mood on set, with the entire crew dancing and having a good time. “If Caroline is the mother and we are the kids — she just let us run wild and create something for her that we thought was magnificent.” Trust, the actress expresses, is integral to the collaborative creative process. “When I’m on a movie with a director, that’s how I do the best work, if I feel like he trusts me and then guides me. They were two of the most fun days I’ve ever had shooting.” Weeks later, the world went into lockdown. Later in the year, Roberts received a behind-the-scenes video of the shoot. “I started crying,” she recalls. “Seeing everybody maskless, close together, huddled, people hugging. It had been so long, and it was so touching to see and remember how fun it was. That’s the kind of spirit that Chopard cultivates and that they want us to have.”
Julia Roberts as Vivian Ward in Pretty Woman
Roberts, who is currently enjoying praise for her role in the political thriller series Gaslit alongside Sean Penn, shows no signs of slowing. Her acting will soon inspire more laughter this fall. Ticket to Paradise (October 2022) is a movie about a divorced couple (played by Roberts and George Clooney) who travel to Bali for their daughter’s nuptials. Highly anticipated, it is the actress’s first romantic comedy in 20 years. Many will still remember the scene from one of her earliest rom coms, Pretty Woman, where, dressed in a red gown, she is presented with a jewelry box carrying a ruby and diamond necklace. If jewelry is traditionally associated with romance, should that still be the case today? “Oh, I hope so,” Roberts says, flashing her inimitable smile.
Originally published in the June 2022 issue of Vogue Arabia
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Academy award winning actress Anne Hathaway arrived at the Italian Embassy in Paris sparkling, literally. Adorned in a necklace, bracelet, and ring by Bulgari, the actress was in the French capital to celebrate the new high jewelry collection, Eden, the Garden of Wonder by the Roman house’s creative director Lucia Silvestri. Joining her as faces of the brand were actress Priyanka Chopra and Thai rapper Lisa. Former first lady of France Carla Bruni also appeared at the beginning of the soiree, only to reappear for a surprise appearance on the runway met by cheers by guests.
Bulgari organized a high jewelry show within the Embassy to feature the 140 pieces in the collection. Models dressed in nude-colored dresses, with free-flowing hair appeared like contemporary goddesses adorned with the pieces featuring magnificent gemstones and semi-precious stones.
Bulgari CEO Jean-Christophe Babin and Carla Bruni with the models. Photo: Getty
Afterwards, guests convened in the gardens for a dinner prepared by two-Michelin-starred chefs, French Yannick Alléno and Italian Emanuele Scarello. Sat at tables winding like serpents through grass, under a ceiling dripping with fuchsia flowers, guests enjoyed sea bass and toasted brioche, monkfish with basil and citrus burrata, and veal with capers and fresh lemon, and closed off the evening with a performance by Italian musician Mario Biondi who was joined on-stage by Carla Bruni.
Jean-Christophe Babin addresses guests at dinner. Photo: Getty
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Vacheron Constantin Celebrates the Artworks of Four Great Civilizations With a Special Watch Collection With the Louvre
The Métiers d’Art series of watches pay tribute to great civilizations. Photo: Courtesy Vacheron Constantin
It was a night at the museum to go down in history. This week, special guests were delighted with a private tour of the Louvre in Paris. The occasion was the reveal of four Vacheron Constantin Métiers d’Art watches stemming from a partnership with the Louvre and inspired by great civilizations of Antiquity—Egypt, Persian, Greek, and Roman. Years in the making, the limited-edition timepieces (five per theme) featured a miniature interpretation of a historic artwork representative of one of the four eras on the dials. Created in the form of gold appliqués is the Great Sphynx of Tanis from the Ancient Egyptian Empire (2035—1680BC); the Lion of Darius from the Persian Empire of the Achaemenids (559—330BC); the Victory of Samothrace from Hellenistic Greece of the Antigonid dynasty (277—168BC); and the Bust of Augustus from the Roman Empire of the Julio-Claudians (27 BC—68AD).
Following an haute cuisine buffet lunch at the private men’s Automobile Club—open to all Vacheron Constantin invitees for the occasion, guests retired to their rooms at the Crillon hotel where, notably, Lebanese architect Aline Asmar d’Amman collaborated with Karl Lagerfeld to renovate its most exquisite suites. After changing into gowns and black tie, guests reconvened at the Louvre—again exceptionally void of people save for a quartet playing mystical music composed for the evening. After walking through the grand courtyard, past flag bearers, guests entered the I. M. Pei.-designed pyramid and descended for a dinner prepared by three-starred Michelin chef Frederic Anton.
Aligned with the theme, each of the four dishes was inspired by one of the aforementioned great civilizations. Green asparagus, poutargue, candied lemon, virgin olive oil with elder flower, and caviar was a nod to Egypt. Seabass, fennel salad, mariniere sauce, and truffle savings was inspired by Greece; Bresse rousted poultry, Roman style artichokes, curry powder and greasy juice pointed to the Roman empire; while honey, light mousse, crunchy sugar, grenade sherbet, and raspberry coulis was inspired by Persia. Adding heightened drama to the soirée, each dish was preceded by a musical highlight also touching on one of the four civilizations. After dinner was served, a curtain dropped, and a full orchestra revealed itself to the enchanted crowd. The Swiss maison offered a gala evening very much aligned with its ethos of niche and authenticity; undeniably, this night was one of not many.
A closer look at the inspiration and processes behind the four new timepieces:
The Buste d’ Auguste looks back at th Roman Empire of the Julio-Claudians (27 BC – 68 AD). Photo: Courtesy Vacheron Constantin
The Ancient Egyptian Empire (2035-1680 BC) is honored with a timepiece that depicts the Grand sphinx de Tanis. Photo: Courtesy Vacheron Constantin
The vibrant art of the Persian Empire of the Achaemenids (559 – 330 BC) comes to life via the Lion de Darius. Photo: Courtesy Vacheron Constantin
As a tribute to Hellenistic Greece of the Antigonid dynasty (277 – 168 BC), Vacheron Constantin presents the Victoire de Samothrace . Photo: Courtesy Vacheron Constantin
Photo: Courtesy of Al Fardan Jewellery
Al Fardan Jewellery recently opened its Abu Dhabi flagship boutique and showcased its Ramadan capsule necklace, inspired by HE Sheikha Alyazia bint Nahyan Bin Mubarak Al Nahyan and Sheikha Hamda bint Khalifa bin Mohammed Al Nahyan. Al Fardan, which was launched in 1954, gets inspiration from its extensive and abundant Emirati legacy. It continually creates timeless designs for women who embody rich Emirati traditions.
Photo: Courtesy of Al Fardan Jewellery
The medallion that was selected as a hero piece of the collection is delicately adorned with Sheikha Alyazia’s handwriting in religious prayers to mark the Holy Month of Ramadan. The capsule – called With Relatives – is representative of Ramadan’s essence that centers the bringing together of families and the art of gifting. The impressions pay homage to the early Islamic tradition where it was standard to have “hidden” prayers, and the intricate engravings fortify the concept of prayers as a form of protection and security. Sheikha Alyazia notes, “Approaching this design project with my cousin Hamda started with the idea of Ramadan, which gave lots of dimensions, exceeding the materialistic to the more cultural and spiritual. This opened the way to the scope of light and also lamps. Even the tile shape was unconventional, with numerous corners resembling a star or rays.”
Photo: Courtesy of Al Fardan Jewellery
The design has been executed with coral and malachite, both of which will be stocked as distinctive medallions. The unique concept behind the color scheme is derived from luminosity and Islamic conventions, including the complex engraving of the medallion inspired by Andalusian tiles and floral motifs. These grow on to the design of the hook, encasing the pearl and coral heads. Playing on the idea of jewelry as being modifiable, the pearl tassel can be removed or added on. The jewelry is encased in handcrafted packaging by Emirati calligrapher and designer Narjes Noureddine.
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Originally published in the April 2022 issue of Vogue Arabia
Unlike clothing and accessories, jewelry has little protective functionality, amulets aside. Bracelets and jeweled barrettes might not be able to keep out the cold, but a pretty bauble can certainly warm the heart. Beyond their intrinsic value, there’s a strong emotional aspect to these small and special adornments.
While every season has its jewelry trends, it generally takes a long while for specific pieces to feel dated—especially these days when designers are referencing many past decades all at once. Elsa Peretti and Nancy Cunard might have been the spiritual muses of the many silver and stacked bracelets we saw, but the pieces themselves looked modern.
Gobstopper-sized pearls, once a symbol of 1980s muchness, returned with a sense of fun. Speaking of amusement, instead of swinging on chandeliers, why not wrap crystals drop around your neck? Alternatively you might let the fringe fly from lobes and wrists. Fall’s tendency is toward big statements, but there were lots of niche motifs like locks and keys, flowers, and fauna. Ear-shaped earrings, mouth-shaped pins, and other body-inspired pieces offered an ersatz anatomy lesson. Several designers showed their smarts in terms of sustainability by making treasures from found objects, a reminder that beauty is everywhere to be found.
Off the Cuff
When it comes to bracelets, more is more is more and bigger is better.
Adorn yourself in crystal drops and outshine the chandelier.
Pearls the size of Jaw Busters are more statement-making than sweet.
Dolce & Gabbana
Eyes, lips, and ears make for witty, conversation-starting baubles.
When it comes to large-scale earrings, sometimes one is enough.
Lock and Key
Jewelry this charming opens all doors.
Get into the swing of the season with pieces that move along with you.
Andreas Kronthaler for Vivienne Westwood
DIY goes deluxe.
Central St Martins
Ahead of the Curve
Arcs take the place of circles when it comes to earrings and chokers.
Fall’s crowning glories come in the form of ornamented clips and crowns.
Gilding the Lily
Designers offer a pretty bouquet of floral motifs for fall.
These low maintenance pets deliver maximum joy.
Puppets & Puppets
Dries Van Noten
Originally published in Vogue.com
Established in 1755, Vacheron Constantin is easily one of most respected names in the world of timepieces. And just when you think you’ve seen it all from the Swiss luxury watch brand, it manages to delight again. Case in point: Vacheron Constantin’s newest range, the Égérie collection. Marrying the best of Haute Horlogerie and Haute Couture, the latest from the watch house is a celebration of the modern woman—driven, quick, and always elegant. Spotlighting Vacheron Constantin’s impeccable craftsmanship, the Égérie pieces aren’t just beautiful to look at, they’re also cleverly made for the woman on-the-go. While each piece comes with a ‘second skin’-like metal bracelet, the collection also offers interchangeable straps for the gold pieces, proving that elegance and versatility can, in fact, coexist.
Following the trademark look of Vacheron Constantin’s legacy watches, the Égérie collection featured the Swiss houses’ deliberate asymmetry in its designs, which are powered by self-winding movements adorned with Haute Horlogerie finishes. What makes them unique, however, is the 18K gold scalloped motifs you’ll find in the dials, reminiscent of fine lace, along with diamond detailing that almost seems to create an ethereal halo around the case of each dial, and delicate Arabic numerals. The collection includes three models—self-winding, moon phase and moon phase diamond-pavé—each of which can then be selected by their wearer in 18K pink gold, 18K white gold, or steel in two sizes:35 mm and 37 mm diameters. Another cheeky element that adds modernity to the timeless pieces: the placement of the Vacheron Constantin logo and crown, which appear between 1 and 2’clock for a fresh look. While the Égérie moon phase watches feature an 18K gold moon in a starry sky behind mother of pearl clouds, the Egérie moon phase diamond-pavé pieces are embedded with 510 diamonds, and the Égérie self-winding comes with a cabochon-cut moonstone. The result: a series of luxury watches that seamlessly blend in with daily wear, yet somehow also manage to stand out as an evening-worthy investment pieces. Both elegant, yet fresh, fun and modern, the Égérie watches are a rare combination of everything that makes a timepiece a winner.
To celebrate the brand new creations of the house of Vacheron Constantin, Vogue Arabia put its lens on some of the Égérie collection’s most beautiful pieces in a dreamy video that brings the romance of galas with the practicality of today’s race against time. The video pays homage to the femininity that’s laced into every piece of the collection, which after all, was named after the famous nymph Egeria, who often appears in Roman mythology. Watch the video for a closer look at the brand new offerings, which may just top your list of festive must-haves.
Directing and editing: Photo BoutiqueCinematography: Karim FouadColour grading: LZRDFirst AC: Steven SamyStyle: Cedric HaddadHair and Makeup: Ania PoniatowskaModel: Mia MatteazziProduction: Danica ZivkovicShot on location at St Regis Dubai, The PalmStyle assistant Yasmine Sultan
Photographed by Michel Takla
For its 125th anniversary, Swarovski is presenting its much-loved crystals in a whole new way. As part of its relaunch, the Austrian crystal powerhouse recently unveiled the Swarovski Wonderlab, an aptly named sensorial space.
Photographed by Michel Takla
The Wonderlab is spearheaded by the new and first-ever Swarovski creative director, Giovanna Engelbert, who says that it aims to create an immersive entry for all and leave a lasting impression. “The Wonderlab is an idea, it is an imagined place that embodies everything Swarovski stands for and that will continue to inspire us for years to come,” she says in a statement. “The Wonderlab is where science and magic meet, where extra and elegance collide; it is a feeling of wonder that everyone should experience as we invite them into our new world at Swarovski.”
Photographed by Michel Takla
The Swarovski Wonderlab comes alive with the unveiling of 28 Instant Wonder stores. The first one opened in Milan’s Galleria store in February, followed by a Parisian debut in March, and then a New York City unveiling in April, which has led to an opening in the Mall of the Emirates in Dubai on May 28, 2021.
Designed to reflect the brand’s campaign and new visual identity, guests are welcomed into retail spaces with vibrant colors, textures, and innovative materials that encourage curiosity and self-expression. Each Instant Wonder store consists of a range of crystal lifestyle pieces, such as loose components, jewelry, watches, figurines, and accessories, and is furnished with a captivating backdrop of Swarovski’s refurbished octagonal logo silhouette. The old logo had a swan quietly sitting and looking to the left, and has now been replaced with a swan facing the right with its wings raised as if taking off.
Photographed by Michel Takla
Each store is represented by one of five colors – white, pink, green, blue, and yellow. The walls are lined from floor to ceiling in new octagonal boxes to create a monochromatic, repeating motif that encourages exploration. In addition, a series of metallic cast busts replaces traditional jewelry display stands. Each character, named and scanned from life, has been created using innovative 3D technology.
Photographed by Michel Takla
The first expression of the Wonderlab is in Engelbert’s first collection, named Collection One. “I wanted to explore the fundamental geometry of crystal and its potential as a material,” she says. “Looking at Daniel Swarovski’s first drawings was an absolute inspiration, discovering the magic of his early inventions and understanding the power of his dream to create something the world had never seen. As I set out on my own creative journey, I respect how transformative jewelry can be and wanted to create pieces and a vision of style that women and men could embrace and feel like their bold unique selves in.” As if plucked from what Engelbert calls a “mathemagical garden,” the chunky and versatile collection is an array of necklaces, earrings, rings, bracelets, and body jewelry with an inventive approach to the scale, cut, and color of the crystal.
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Style: Ahmed RashwanHair: Deena AlawaidMakeup: Michel KiwarkisModel: Lana AlBeik Set design: 1602 StudioOn-set producer: Mohammad Hazem RezqOff-set producer: Camilla Fitz-Patrick
Tigre Cascade necklace in white gold with obsidian, emerald, onyx, and diamonds, Tigre Cascade ring in white gold with obsidian, emerald, onyx, and diamonds, Cartier; dress, Taller Marmo; shoes, Jimmy Choo; hat, scarf, stylist’s own. Photographed by Nima Benati
In an adept balancing act between the future and the past, Cartier‘s Sixième Sens high jewelry collection has reimagined iconic house styles in new techniques. Aiming to appeal to your sixth sense, the collection of necklaces and rings combines vivid 1,000-year-old stones in unusual textures and colors, and features geometric ornamentations, contrasting textures, and other visual patterns that exhibit optical illusions.
Alaxoa earrings in platinum with emeralds, emerald beads, and diamonds, Alaxoa necklace in platinum with emeralds, emerald beads, and diamonds, Cartier; dress, Blumarine; hat, Bonfilio; gloves, scarf, stylist’s own. Photographed by Nima Benati
The Meride necklace in diamond, onyx, and rock crystal creates a hypnotic checkerboard pattern, while the Alaxoa necklace’s emerald beads and diamonds are carefully arranged to caress the skin. Meanwhile, the Parhelia ring is a nod to Cartier’s classic peacock motif with a 21.51ct sapphire cabochon surrounded by five semi-circles of radiant diamonds and emeralds that fan out from each side of the center stone. It can also be worn as a brooch, enabling quick multifunctionality. A touch of black lacquer creates shadow effects to reinforce the impression of movement in the ring.
Pixelage necklace in yellow gold with topaz, onyx, and yellow, orange, and white diamonds, Cartier; dress, Michael Kors Collection; scarf, stylist’s own. Photographed by Nima Benati
Described by Cartier as a “stylized play on the feline’s coat,” the Pixelage necklace, true to its name, reflects another consistent theme in the collection: pixelation. Adopting digital imagery as a new way to interpret the classic house motif of a panther’s fur, the spots on the piece are created in a puzzle of polished topaz, onyx, and white and colored diamonds.
Sharkara necklace in white gold with pink tourmalines, sapphires, and diamonds, Cartier; dress, Taller Marmo; gloves, stylist’s own. Photographed by Nima Benati
With variations of the same tone unlike most of the other pieces of the collection, the Sharkara necklace brings together tourmalines and colored sapphires in rosy hues, illuminated by bright orange garnets and diamonds and balancing a geometry of straight lines, curves, squares, and spheres. The collection also celebrates the diamond with the Coruscant necklace, which features six different cuts (kite, octagonal, emerald, triangle, baguette, and brilliant), each reflecting light from a different angle. Three stones stand out from the rest: a 3ct kite, a 1.62ct octagon, and a 1.54ct emerald-shaped diamond.
Udyana necklace in platinum with rubies, emeralds, sapphires, and diamonds, Cartier; coat, A. Teodoro; hat, Bonfilio; scarf, stylist’s own. Photographed by Nima Benati
After a long absence of in-person presentations, Cartier unveiled the high jewelry collection at an exclusive event in Lake Como, Italy. Attending guests included Egyptian actor Yasmine Sabri, Lebanese actor Nadine Labaki, and Saudi filmmaker Fatima Al Banawi.
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Style: Gaia Fraschini Makeup: Greta Agazzi Production: Danica ZivkovicSenior fashion market editor: Amine Jreissati Model: Rawdah Mohamed Style assistant: Greta TedeschiPhotography assistants: Luca Trelancia, Massimo Fusardi
Photo: Courtesy of Chanel
The new, neon-infused limited edition Chanel watches will turn heads. Notably your own. If color therapy – the useof color and light to purportedly treat physical and mental health by balancing the body’s energy centers – is a happy side effect upon witnessing these new dials, the original inspiration stems from sound. “I conceived this capsule collection like a performance program, inviting our classics, the Premiere, J12, Boy.friend, and Code Coco to perform side by side on this stage, drawing their inspiration from the codes of this world,” shares Arnaud Chastaingt, director of the Chanel watchmaking creation studio.
Photo: Courtesy of Chanel
He’s particularly referring to electronic music that flared up in the Nineties, offering different genres that moved beyond music founding a new aesthetic culture. The Première Electro, inspired by the energy of electronic music, features a blackened steel version with a chain bracelet interwoven with multicolored leather and is limited to 555 pieces.
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The J12 Electro sees the watch reinvented with a black ceramic and steel model with vibrant color numerals limited to 1255 pieces of its 38 mm and 33 mm versions. The Boy.Friend Electro comes with 142 brilliant-cut diamonds embellished with a robot motif and quilted pattern calfskin strap lined in neon pink and is limited to 55 pieces. Finally, the Code Coco Electro features a neon pink with black braiding quilted pattern leather strap. Its blackened steel design is set with a princess-cut diamond and is limited to 255 pieces. All that’s left to do is dance.
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Originally published in the June 2021 issue of Vogue Arabia