< PreviousCALL OF THE WILD Boucheron’s new Ailleurs high jewellery collection is inspired by imaginary landscapes and features delight ully surprising material combinations Watches & Jewellery High jewellery is often a conservative affair: besides gold, platinum and precious stones, few materials are permitted entry to its hallowed ground. The new Ailleurs collection by venerable French house Boucheron, however, sweeps aside all dusty traditions, reinventing the medium for the 21st century. In doing so, it reveals the brand’s artistic director, Claire Choisne, as an original talent with a radical vision – one that embraces new technology alongside materials usually considered “humble”. Elevated to luxury status by their companionship with fi ne fi nishes, these appear in an entirely new light. In the fl amboyance of her designs, Choisne follows in the footsteps of the celebrated 20th-century jeweller Suzanne Belperron, a renowned colourist who took inspiration from nature and the exotic. The Ailleurs collection represents an otherworldly landscape populated by fantastical animals and eyecatching natural forms, inviting jewellery lovers to journey through dream- like deserts, lush jungles, and textures of earth, wood and crystal-studded rock. Aimed at both genders, the collection is divided into fi ve themes, starting with Sand Woman, whose softly curved designs are reminiscent of sand dunes. The signature piece is the Rotin Diamant necklace, which teams pavé diamonds and white and pink gold with semi-circular tiers of rattan, which are given rigidity and strength by gold rods inserted into each fl exible strand. It’s a creative reversal of the Boucheron tradition AD_047_10-11_W&J_Boucheron_12637570.indd 1004/10/2022 11:12:53 PMof lending suppleness to hard materials. Here, a second theme emerges: that of using organic materials in unexpected ways. The Coquillage Diamant earrings incorporate sculptural natural seashells, which are digitally scanned in order to recreate sections in gold and diamonds; every contour and spiral is reproduced with pinpoint accuracy. A similar technique is applied to the Papillon brooch, a star of the rainbow-bright, tropically themed Leaf Woman range: real butterfl y wings are given a treatment that makes them durable for wear before being scanned to create a perfectly matching gold framework, which holds the wings in place like glistening fi ligree. Worn on the shoulder, the effect is that of a living butterfl y, alighted for a moment on the wearer’s body. Wood and stone are other substances transformed by Choisne. For the Bois Diamant brooch in the Earth Woman range, also designed to be worn confi dently on the shoulder, real petals are digitally scanned, re-rendered in santal rosewood, and fi nished with titanium pistils that delicately vibrate – a modern version of the en tremblant tradition in French jewellery, whereby suspended jewels are set in motion during wear. The Bois Brûlé Diamant necklace in the Volcano Man collection (which is intended for masculine tastes) incorporates three- thousand-year-old marsh oak, charred using the Japanese shou sugi ban technique, which confers incredible strength. Contrasted with intricately knotted pave diamonds, the effect is powerful yet simple. Choisne’s fascination with the possibilities of technology is refl ected in the Coquillage necklace, also part of the Volcano Man edit. The internal structure of a shell is viewed as through an X-ray and fashioned into mother-of-pearl pendants, creating a 3D illusion. The Feuillage Diamant leaf cuff from the Leaf Woman range, meanwhile, owes its intense green hue not only to a 37.97-carat tourmaline, but to a lattice-style decoration created using cataphoresis, a technique used in the automotive industry to apply epoxy coatings to metal. Its aluminium structure recalls woven plant stems. The pieces that make the strongest statement of all, perhaps, are the Oursin Diamant necklace and their companions the Galet Diamant necklace, earrings and ring. Seeming to be have been plucked from a “lunar ocean or vast astral beach”, the latter are made with translucent, milky white pebbles, hollowed out to be light enough for comfortable wear and intertwined with diamonds. The former is a digital recreation of a sea urchin in silver, the metal treated to bestow an ethereal whiteness, then studded with pearls and diamonds. Suspended from a long diamond-encrusted chain, it can be worn in multiple ways – a common feature of this collection, where brooches double as headpieces while other designs, such as the Octopus climber earring aimed at male wearers, evoke tattoos and body art. If you’re accustomed to thinking of jewellery styled in conventional ways, Boucheron’s latest adventure is a revelation. boucheron.com – AMY BRADFORD CLOCKWISE FROM TOP: Fleur de Paradis head jewel; Bois Diamant brooch; Rotin Diamant necklace; Corial Diamant earrings; Dursin diamant brooch; Serpent bracelet. OPPOSITE PAGE, CLOCKWISE: Galet pebble necklace and ring; Octopus earring; Papillon brooch; Pie ring; Jack Coquillage brooch. AD_047_10-11_W&J_Boucheron_12637570.indd 1104/10/2022 11:13:29 PMPeak Moment At its Swiss mountain home, Audemars Piguet has combined ar isanship and architecture to dazzling ef ect in a celebration of human ingenuity Watches & Jewellery AD_47_12-17_W&J_Audemars Piguet_12630857.indd 1204/10/2022 11:17:26 PMAn hour’s drive north of Geneva, Le Brassus is a small village in the Vallée de Joux . The light has magical clarity, the air is fresh and invigorating, and nature expresses itself unhindered. Glorious conifer-clad peaks, crystalline lakes and ski slopes that promise the thrill of a lifetime are all within grasp from this modest settlement. But what gives Le Brassus its unique place in history is a clutch of old homes with clerestory windows. “Those were the houses of the fi rst watchmakers,” says Sébastian Vivas, the heritage and museum director at Audemars Piguet, the Swiss maker of luxury timepieces. In the depth of winter, when there was not much else to do, some farmers took to cultivating a different interest – building watches. “They would spend hours producing the many complicated parts of the watch, such as the wheels, and bridges. The winter light from the high windows was perfect for their exacting tasks.” Since the end of the 18th century, Le Brassus has established itself as a focal point in the world of Haute Horlogerie, with some of the fi nest watch artisans emerging from the region. Amongst them were Jules Louis Audemars and Edward Auguste Piguet, two ambitious watchmakers who founded the manufacture in 1875. Against the backdrop of the Industrial Revolution, when production in so many spheres of life had been automated, the duo set out to craft unique complicated mechanisms by hand. Almost 150 years later Audemars Piguet is at the cutting-edge of the watchmaking world, but some things haven’t changed. It remains independent and family owned, still attached to producing small series and deeply committed to the transmission of know-how to tomorrow’s watchmakers and afi cionados. This amalgamation of the past, present and future is best expressed at Audemars Piguet’s Musée Atelier, a spiralling pavilion located between the company's historic buildings in Le Brassus. Visitors enter the Bjarke Ingels Group (BIG) designed structure through the original house where Audemars and Piguet set up business and the fi rst thing they see is a mineral rock – locally found, and from which the metal required for watchmaking was once extracted. “We wanted this museum to be a space of wonder and knowledge,” says Vivas. First opened to the public in June 2020, the pavilion was born from an architecture competition and BIG’s swirling concept inspired by the spring of a timepiece caught everyone’s attention. “Even so, the pavilion is an expression of Swiss engineering,” explains Vivas, pointing to the column-less, multi- layered glass façade. “We engaged the Lausanne-based architecture studio CCHE to support BIG’s team and they came up with a solution that eliminated the columns from the design.” It is not every day that Vivas is at hand to share his wealth of knowledge with museum visitors, but on this occasion, we were joined by Mattar Bin Lahej, the acclaimed Emirati artist whose calligraphy inspired work engages with concepts of layering, material innovation and precision in a manner akin to watchmaking. ABOVE: 108 unique curved glass panes – some that are seven layers thick – hold the 470-ton landscaped roof of the Musée Atelier Audemars Piguet. TOP RIGHT: Code 11.59 by Audemars Piguet Tourbillon Openworked, the manufacture's latest creation, features a gold and blue ceramic case with the main plate visible on both sides. AD_47_12-17_W&J_Audemars Piguet_12630857.indd 1304/10/2022 11:17:34 PMWatches & Jewellery AD_47_12-17_W&J_Audemars Piguet_12630857.indd 1404/10/2022 11:17:54 PM“I love going to museums because they spark my imagination,” says the artist. He was visting the Musée Atelier to fi nd inspiration for a unique artwork AD Middle East commissioned for its Watches & Jewellery Special. “Here, when I see architecture and the art of watchmaking come together, it reaffi rms my belief that the act of creating elevates us as a society.” As we walk through the museum, it is diffi cult not to imagine oneself inside a monumental timepiece. Supported by curved glass (at some points seven layers thick), a steel roof coils above; its pattern is replicated on the fl oor with the terrazzo path converging at the centre like a winding mechanism. To execute the design with precision – there are free-standing displays powered by cables that run underground, heavy-duty kinetic showcases that open and close at the press of a button and lighting that’s calibrated to the slope of the roof – a life-scale model was erected for testing before construction began. By the pavilion’s edge, two workshops, one dedicated to Grandes Complications and the other to crafting high jewellery creations, spotlight the brand’s highly skilled artisans and its ancestral savoir-faire. There is also a bench where visitors can try their hand at some techniques. “There are so many layers to this pavilion,” observes Bin Lahej who notably envisioned the calligraphy for Dubai’s Museum of The Future. “It’s fascinating to see how an idea born in the designer’s mind is then manifested through the right materials, tools and innovations. It’s the same journey, be it art, buildings or watches.” The main exhibition presents some 300 timepieces spanning over 200 years of watchmaking history. From the fi rst pieces created by the founders, to one-off bejewelled creations such as an 1883 diamond encrusted pocket watch for an Iranian royal and the original Royal Oak, this is a celebration of the diverse infl uences that have enriched the Audemars Piguet universe. The museum’s interiors are inspired by a watch’s winding mechanism. BELOW: From Audemars Piguet’s Heritage Collection, an 18K rose gold pocket watch from the 1880s, set with diamonds and rubies. OPPOSITE PAGE: With a swirling roof, the museum appears to emerge from the hills of Le Brassus. AD_47_12-17_W&J_Audemars Piguet_12630857.indd 1504/10/2022 11:18:03 PMWatches & Jewellery In a pine-clad salon at the manufacture's original home, Vivas has gathered a special selection of timepieces not displayed in the museum. On a velvet-lined tray, a gold watch glistens as sunlight seeps in through the windows. Bin Lahej’s face lights up when he sees it: on its intricately carved body is a piece of Arabic calligraphy in praise of Allah. “You see, art, irrespective of how it’s expressed, is the language that connects all people and all beliefs,” he says, visibly moved. A (very) short walk away, the new Hôtel des Horlogers, Audemars Piguet’s fi rst-ever luxury boutique hotel echoes the ‘one-with- its-surrounding’ philosophy of the museum. Also designed by BIG its un-signed, low timber and glass façade seems quite unassuming, at least at fi rst glance, but it is its other, meadow-facing side that is a revelation. “It looks like the building is embedded into the terrain,” say André Cheminade, the hotel’s general manager about the monumental zig-zagging ramp that descends from the lobby level to the greens, mimicking terraced farms on the surrounding hills. “We really wanted the building to connect intimately with everyday life here.” As a result, this sloping path welcomes everyone who wants to spend time with nature. It is testament to BIG’s vision that the view, meadowland and forest till as far as the eye can see is not lost inside. All of the 50 rooms and suites are arranged in a stacked-and- staggered formation such that all guests wake up to breathtaking views of the Risoud forest. “The fi rst records of this establishment date back to 1857,” says Cheminade. “This was where the famers would bring their complications and watches to show-off and even, trade.” Once known as the Hôtel de AD_47_12-17_W&J_Audemars Piguet_12630857.indd 1604/10/2022 11:18:19 PMFrance, it changed many hands until 2003 when Audemars Piguet acquired the property. In 2016, plans for a new chapter, a destination in compliance with the most demanding ecological guidelines in Switzerland, were set in motion. Inside, Cheminade’s theory of the hotel being embedded in the land rings true. Tree roots are suspended from the ceiling as if we are looking up at them from beneath. A large, unfurling reception desk inspired by a rippled ammonite fossil – common in these parts of Europe – is the hero of the interior scheme curated by French agency AUM. The truffl e-like lamps in the restaurant run by three Michelin star chef Emmanuel Renaut are in fact meant to resemble an emptied lake and throughout, an earthy palette subtly emphasises the slant of the internal hallways that lead to the guest rooms. “Here I feel that you can truly be with yourself, away from the noise of daily life,” says Bin Lahej. “There is a beautiful balance of stillness and motion, so that we can appreciate the beauty of both.” hoteldeshorlogers.com; audemarspiguet.com – PRATYUSH SARUP Leading down to the meadows, the hotel's monumental ramp is the perfect vantage point to enjoy sweeping views of the Risoud forest. BELOW: The guest rooms feature large windows that beautifully frame outdoor views. OPPOSITE PAGE CLOCKWISE FROM LEFT: Hôtel des Horlogers makes a big impression with its light-fi lled, nature-inspired lobby; the sleek exterior; Sébastian Vivas and Mattar Bin Lahej at Audemars Piguet’s historic house. AD_47_12-17_W&J_Audemars Piguet_12630857.indd 1704/10/2022 11:18:48 PMPH OTO : D A M IAN FO XE Grand Gestures Boghossian’s latest high jewellery creations are beautifully bold statement pieces Watches & Jewellery Inlaid diamond, turquoise, paraiba and mother-of-pearl bracelet and ring. AD_047_18-19_W&J_Boghossian_12645379.indd 1804/10/2022 11:20:19 PMOver 150 years of creativity, six generations of savoir-faire and that diffi cult-to-bottle magic of the Silk Road; it all comes together at the storied jewel- lery house Boghossian. Since 1868, the mai- son has combined artistic fl air and unrivalled craftsmanship from the east and the west, crafting one-of-a-kind designs sought after by connoisseurs around the world. Ensuring the continuity of centuries-old jewellery making traditions such as the art of inlay and envisioning new concepts like the ‘kissing’ technique that sees two gemstones embrace one another to create a dazzling light effect, the maison draws inspiration from the four elements – earth, air, fi re and water – showcasing rare gems in new, unex- pected styles. Audacious, yet delicate, its lat- est creations salute the rare marriage of her- itage and innovation that makes Boghossian a leading light of the haute joaillerie universe. It is testament to the maison’s skilled arti- sans, that a pastel-hued necklace – set with immense semi-precious gems including aq- uamarine, pink tourmaline and green tour- maline specially cut for this creation – uses very little gold, allowing the stones to fl oat over the neck. This beautiful harmony of shape and proportion is echoed in a rare pair of earrings with unusual shield-shaped dia- monds, cut from long, single rough stones. An endless treasure hunt sees the Boghos- sian clan collecting exceptional stones from trading centres across the world, including New York, Basel and Hong Kong, as well as mines and markets in some of its remotest corners. It is no surprise, then, that these new pieces are adorned with an array of precious stones. From diamonds in delightful hues – think vivid bluish-green cushion, fancy brownish-purples – including a pink dia- mond from Australia’s famous Argyle mine, to bold choices such as black opals, electric blue tanzanites and emerald-cut pink sap- phires, this is an exuberant celebration of jewellery-making at its zenith. Throughout the series, a delicate feminini- ty abounds. The inherent beauty of natural pearls and paraiba – a rare tourmaline – is ex- pressed in a ribbon-like necklace studded with a heart-shaped diamond. Graceful conch-shaped pearls are paired with state- ment yellow diamonds, and a suspended bri- olette gem enlivens a black opal ring. Carving and setting gemstones seamlessly into one another, Boghossian’s outstanding lapidary skills take centrestage as turquoise, paraiba, diamonds and mother-of-pearl in- tertwine in a show-stopping necklace. The artfully calibrated colours and shapes are a fi ne tribute to the mai son’s heritage. boghossianjewels.com – P.S. CLOCKWISE FROM TOP LEFT: Toi & Moi pink diamond and diamond ring; multi-colour semi-precious stone and diamond necklace; inlaid diamond, turquoise, paraiba and mother-of-pearl necklace and earrings; conch pearl and yellow diamond earrings; Kissing yellow diamond and diamond ring. AD_047_18-19_W&J_Boghossian_12645379.indd 1904/10/2022 11:20:33 PMNext >