FactualMany fine jewelry houses are betting on “affordable” lines. Without straying too far from their image of inaccessible luxury, which also rhymes with desirability.
On the walls of the living room, in the boutique on rue de la Paix, in Paris, are framed gouaches taken from the archives. Sparkling tiaras, precious ornaments XVIIIe, majestic pieces… If Mellerio, a house founded in 1613 and still independent – a rarity in the fine jewelry sector, dominated by the Swiss group Richemont and the French LVMH -, has often adorned crowned heads and nomenklatura, it nevertheless engaged for several weeks in a democratization effort. Its new collection, called Les Muses, draws cheerfully on Renaissance or Art Nouveau motifs from its heritage, but was produced in pink gold in Italy, to be less expensive.
A necklace in homage to George Sand can be purchased for 650 euros; a diamond ring in the shape of a cross for 790 euros. “For me, who loves volume, finesse and color, drawing accessible is more difficult than creating fine jewelry., admits Laure-Isabelle Mellerio, president and artistic director. You have to know how to listen to the marketing department’s instructions, ensure the required dose of gold, embrace the constraints while remaining careful that it does not seem approximate or cheap. “
Like Mellerio, many fine jewelry producers, Place Vendôme vessels and luxury fashion houses are betting on more “accessible” lines. All the same, between 500 euros and 4,500 euros per item, privileges of the upper classes, but far from the insane six- or seven-figure prices of their fine jewelry. In 2021, the juggernaut Cartier launched Les Berlingots, for example, Art Deco rings and necklaces in hard stones (chalcedony, malachite, onyx) sold from € 3,050; Gucci, Link to Love, angular rings from 790 euros; Dolce & Gabbana, Alphabet, letters in gold charms and fine stones (amethyst, citrine, peridot, etc.) sold from 1,050 euros.
Of course, this desire for democratization is not new. “In the post-war period, jewelers wanted to reach out to the new generation which was emancipating itself from a paternalistic society. In 1954, Van Cleef & Arpels opened La Boutique, a dedicated space with affordable jewelry, recalls Marion Mouchard, doctoral student in art history, external researcher for L’Ecole des arts joailliers. Similarly, in 1969, Chaumet opened L’Arcade ”, whose advertisements of the time promote channels and “Lovely little rings from 1,500 francs”. “This phenomenon unfolded in the 1980s, when having a branded piece of jewelry became an important criterion”, continues Marion Mouchard.
You have 70.51% of this article to read. The rest is for subscribers only.