Among the many designs in Bvlgari's extensive repertoire, the Serpenti is arguably its most recognisable and synonymous with the House. Think of the snake in the context of luxury watches and jewellery, and Bvlgari's Serpenti would immediately come to mind.
Like many great design icons, the Serpenti has seen a slate of interpretations over the years. The serpentine design was first birthed by Bvlgari in 1948—a watch-bracelet in gold featuring the now-signature Tubogas technique—and has seen its design as well as silhouette reworked in many different ways. Life-like (yet still with an Art Deco influence) forms are often riddled with precious stones, while more contemporary abstractions add a sense of timelessness to the piece they're shaped into.
The Serpenti Viper was introduced a few years ago. Like its name suggest, the aesthetic of the Serpenti Viper is meant to exude a more energetic and somewhat menacing appearance. It's a bolder interpretation and not in the sense that it's a statement piece—there are certainly pieces intricately decorated with precious stones—but rather, the stylistic vibe is a contrast to the Serpenti's elegant aura. Think of the Serpenti Viper as the edgier update that’s versatile enough to be worn for just about any and every occasion.
The beauty of the Serpenti Viper lies in its stylised snake scale motif. It’s an expertly rendered gradation as each link—differing ever so slightly in size and scale—curves out of the head and down to its tail. This maintains the Serpenti’s distinct enveloping lines that instantly connects the wearer and the creation in a snug embrace. Whether it’s a ring, necklace, or bracelet, each piece interacts similarly as a mark of Bvlgari’s ingenuity and craftsmanship.
Sleeker than ever, the 2024 Serpenti Viper editions enrich the series further with designs crafted in 18-carat yellow and rose golds. Some are embellished with a touch of demi pavé diamonds while still maintaining the minimalist foundation of the series. The latest necklace, for example, features a gold chain with a coiled up Serpenti Viper pendant tipped with diamond pavé, each matching the scale of its placement.
The heroes of the collection—and arguably the most versatile—are the new rings and bracelets. A new single-wrapped ring is the embodiment of the Serpenti Viper. Available in rose and yellow gold, the design includes one with diamonds as well as a pure gold body. It’s perhaps the simplest form of the series yet at the same time, able to take on a new expression when stacked with either the same hue of gold or its other iteration. The same goes for the new single coil bangle bracelets. A piece has a presence on its own but thin enough to stack for those who’d rather make a bigger impact on the wrist.
Like the moulting of a snake’s skin, the Serpenti is no stranger to evolutions as it constantly does so. But with the Serpenti Viper, the attribute is more apparent as not only is a Serpenti Viper an evolved form of the Serpenti, it also can change within its own line—a personalised impulsivity, if you will. Now that’s rather menacing, don’t you think?
The latest Serpenti Viper collection is now available in Bvlgari boutiques and online.
ESQUIRE: When I think about your collaboration with Tiffany & Co., the first thing that comes to mind is the heart-shaped sunglasses that Alexandre Arnault posted on Instagram. You revealed those sunglasses last June saying, “You would know that I’m engaged to Tiffany. This is just the start of the many things we’ll be doing together.”
PHARRELL WILLIAMS: Those sunglasses are special. Generally, jewellery and accessories are must-have items in my style. That’s why I really enjoyed the process of working on that project. Thanks to the love those sunglasses got, we were more excited to release Tiffany’s new Titan collection. I’m close friends with Alexandre Arnault. So, getting the opportunity to create the Titan collection with Tiffany was an honour, and I’m thankful for it.
ESQ: What did you want to express with the designs at Tiffany, and was there anyone or any incident that inspired that?
PW: I’m very inspired by water. The design of this collection and the name “Titan” were inspired by Poseidon, who is the king of Atlantis (a fictional city under the sea) and the ruler of the sea. “Atlantis” is also the name of an area in Virginia Beach where I grew up. Also, titanium was named after “Titan”, and you can call it “titan” for short. It is also a name that emphasises our use of black titanium, which we used in this collection to physically embody the beauty of the colour black.
ESQ: I think it was a great idea to pair yellow gold with black titanium, and it felt fresh to me.
PW: [The reason for that was] because it is different from tradition, and something unheard of. We wanted to make something beautiful yet different at the same time with this collection.
ESQ: You’ve even mentioned that “jewellery is the punctuation mark of a person”.
PW: Jewellery makes a person. We even remember a person by their jewellery. I can never forget the ring that Slick Rick wore a long time ago. I remember trying to look for the same ring he wore.
ESQ: There was a dinner party hosted in New York to mark the launch of Tiffany’s Titan collection. Please tell us more details about that party.
PW: I was really happy that my friends and family came and supported me. That was the first time I saw other people wearing pieces from this collection. I was able to give life to this collection while working very closely with Tiffany’s in-house design team, and it’s such an honour to lead Tiffany into a new generation. It was at the New York flagship store (which looks down into Central Park). Launching the collection there made it feel like everyone came back and got together in their hometown.
ESQ: There was a Tiffany Wonder party in Tokyo recently.
PW: Firstly, I love Tokyo. It’s one of the cities I love, and the food is amazing. It was great to be able to celebrate 187 years of Tiffany in Tokyo.
ESQ: How would you describe the style of this collection in one word? And tell us why.
PW: People. That’s because everything I create is for the people. It doesn’t matter what your gender, race, ethnic group, or anything else are. I hope people of different classes can wear this collection.
ESQ: I recently checked out your collection “Son of a Pharaoh” which you put up for auction on the auction site JOOPITER, which was launched a few years ago. Everything was great, but the BBC Varsity Jacket was especially interesting. It was an item that expressed a politically correct message in a very cool way.
PW: I really love that jacket. Women are our future. I think it’s important to use one’s art or platform to spread love and talk about injustices. Ultimately, it’s because we are all people. I’ll also be launching a very interesting auction on JOOPITER this coming autumn during Frieze Seoul. I don’t want to say much about it now, but I’ll be revealing more details soon, so look out for it.
ESQ: You’ve been active for over 30 years. How have you been able to stay on the front lines of trends for such a long time?
PW: That’s an interesting point. It’s because I’ve never put in much effort into trying to stay afloat of the trends. I just do what I think is right. I’m also lucky to have worked with interesting people from designers to artists, musicians, and all sorts of other geniuses. I’m learning from them every day.
ESQ: I’m curious as to how you would differentiate something good from something bad.
PW: We can never know what is good, or what people can relate to. You just have to feel that it’s right. Whenever I’m creating something original, or whenever I’m pushing myself to do something that nobody else has done before, that’s when I create "something good". Nobody might like what I created, but we have to be prepared for that!
ESQ: Have you ever thought about how you make that distinction? For example, when I asked you earlier “What is good?”, you could either prioritise your personal preference when doing music or fashion, or you could consider the preference of the consumer.
PW: I try to look through the consumer’s point of view as much as I can, because I’m also a consumer. I think about how I can make it practical, or how the final piece can improve my life or help me live a better life. That’s the criteria I use when making decisions.
ESQ: What do you ultimately consider to be “good”?
PW: “Good” is such an interesting word. Why do we not say “great”? But at the same time, there isn’t a singular definition of “good”. Something might be “good” but might not change your life. Or “good” could be just a feeling. But if you don’t have true passion or sincerity, or if you’re trying hard to get “something good” without knowing why you’re doing it, then that attempt will fail. What sets you apart from others is what makes you special.
ESQ: What does creativity mean to a creative director?
PW: I have three roles. The first is to be a student, the second is to share the code, and most importantly, the third is to help others. Every season, we have to start from the beginning and expand the codes, which are the elegant tailoring, comfort, resortwear vibe, the basics, and of course the dandy. At the head of it, my role is to give energy (to the people I’m working with). But if I’m not able to create something charming, none of these have any meaning. I speak through my vision and through the amazing talents at our Maison.
ESQ: In a previous interview with Vogue, you described a creative director as a “love movement” and someone who “commands 2,500 soldiers”. I know that The Love Movement is also your favourite album by A Tribe Called Quest, but to be honest, I don’t understand that figure of speech.
PW: “Love Movement” or “LVers” for short was inspired by the slogan of my hometown Virginia, which goes “Virginia is for Lovers”. The work that our team at the Maison and I do is one part of the strong “LVers” community that we created, and at the same time it’s for the community. The reason I likened it to commanding solders, is because I lead 55 departments and 2,500 skilled artisans at our Maison. It means that my role in this place is to lead and direct. Our work has to be in harmony, and my role is to make sure everyone moves as one. And the basis of all our work is love.
ESQ: How did the slogan “Virginia is for Lovers” come about?
PW: I think it started from an ad or a billboard inviting people to come to Virginia for their honeymoon. But the slogan is true. There are all types of love in Virginia. It’s full of communities and families everywhere.
ESQ: Hearing that reminds me of the Princess Anne High School Varsity Jacket that you put up for auction. It’s clear that it’s an important piece that explains your identity.
PW: Princess Anne High School is the name of the high school I went to in Virginia Beach! I really love that place, and it’s a place that has a lot of good memories. Coming from Virginia is very important to me and to who I am now. Whenever I have the chance to show that Virginia holds a special place in my heart either by representing or mentioning the place, I’ll take it. Creating the Princess Anne High School jacket was a tribute to my hometown.
ESQ: For someone who has only lived in Korea, it’s hard to picture Virginia as clearly as I can picture New York or LA. What kind of place is it?
PW: It’s a really cool place, and it’s my pride. People might underrate us, but you cannot find the history or the culture we have in Virginia state anywhere else! I love being close to the water and get a lot of inspiration from water. Being close to the water helps me feel safe.
ESQ: You really love Virginia. What about making Pharrell’s Virginia, just like Donald Glover’s Atlanta series?
PW: That’s an interesting thought. But I’m not sure if Virginians would want a show created about them. If you want to watch a cool programme about Virginia or want to hear about the lives of people in Virginia, there is a documentary series called Voices of Fire about Virginia’s choir group with the same name. It’s amazing how much talent they have. The choir is led by my uncle Bishop Ezekiel Williams, who is an inspiration to many people, and you can catch it on Netflix.
ESQ: As someone who loves honky-tonk, the Louis Vuitton Autumn/Winter 2024 show was very impressive. I’m curious about the reason why you interpreted Western American outfits in the collection.
PW: I wanted to reference my personal journey from my hometown of Virginia to Paris. I also wanted to tell the story of Western America, which is also the origin of workwear. Workwear evolved from denim which the first cowboys wore. I wanted to tell the story about this inherent history and express the origin and evolution. The story is told as is in the code of this collection. I’m very proud of that collection. From the buckles to the engravings, we didn’t miss a single detail. Simply put, we elevated every element you can think of up a notch.
ESQ: Will you consider interpreting American kung fu culture from the '70s and '80s in future works? I think it would suit you well.
PW: Kung fu and martial arts in general are very interesting. It’s a sport that requires a lot of strength, agility and patience. It’s almost like dancing. This sport is a type of art. It’s something I could consider!
ESQ: What do you think is your greatest asset right now?
PW: I will forever be a student. I love learning from others, and I get inspired by others every day.
ESQ: It’s interesting that you said “student”. What kind of student are you?
PW: I’m a student who observes well and asks a lot of questions. I want to know what happened here and there. I’m curious about how something I’m seeing is being made and why it’s made. We need to keep having curiosity. It’s the best way to learn about ourselves and the world around us.
ESQ: Is there a personal treasure that you’ll never put up for auction no matter what?
PW: There are so many! You mentioned the Tiffany heart-shaped sunglasses at the beginning of this interview. I will never put that up for auction, because it marked the beginning of my beautiful relationship with Tiffany.
Photography: Hyea W. Kang
Fashion Editor: Yun Wonghee
Styling: Matthew Henson
Grooming: Johnny “Cake” Castellanos at H.Q.E
Tailor: Alice Chastel Mazin
Production: Bae Woori
Art Designer: Kim Daesup
Styling Assistant: Marine Gabaut
Translation: Astrid Ja’afarino
Animation: Joan Tai
Cartier is set to commemorate Trinity's centennial with a pioneering pop-up experience, offering an immersive journey delving into every facet of this quintessential jewellery piece. The Trinity 100 pop-up is set to allow visitors to explore the rich history, intricate craftsmanship, and symbolism of the Trinity design. Meanwhile, they also have the opportunity to engage through interactive displays, artistic installations, and curated exhibits.
Originally designed by Louis Cartier in 1924, the Trinity has evolved into an iconic symbol recognised worldwide. Over the past century, this innovative design—comprising three interlocking rings in varying shades of gold, representing love, friendship, and diversity—has maintained its universal appeal. It's a masterpiece that has been worn by many famous faces—from Alain Delon to Paul Mescal to Jackson Wang—and was inspired by an idea from Jean Cocteau, the cutting-edge French playwright, designer and poet. Fascinated by Saturn's encircling rings, Cocteau asked his friend Louis to create a personal adornment for his little finger, transforming the intricate planetary ring system into a timeless emblem.
At the Arts House in Singapore, the Maison will unveil a unique collaborative project titled Imagine Infinite Circles. This revolutionary initiative brings together over 100 works by creative figures from diverse disciplines and backgrounds worldwide. Each piece pays homage to Trinity, celebrating it as an endless wellspring of inspiration.
Curated by French art curator and artistic director Jérôme Sans at Cartier's request, the exquisite collection showcases 30 selected works that resonate deeply with the cultural and artistic spirit of Singapore. Through this project, Cartier aims to highlight the universal appeal and timeless beauty of the Trinity design, fostering a global appreciation for its enduring legacy.
The Cartier Trinity 100 pop-up is free and open to the public from 15 to 23rd July 2024 at The Arts House, 1 Old Parliament Lane, Singapore 179429. Appointment bookings are now available online.
There's a common notion that jewellery is primarily for women. However, as society progresses, must clothes and accessories be strictly gendered? I mean, fashion now embraces a spectrum of gender identities, challenging traditional constraints. Can't I wear a suit? Can't my boyfriend wear a little concealer? Why shouldn't men wear jewellery and break outdated norms?
Enter Desmond Tan, Lee Hwa inaugural ambassador. The actor, whose career showcases dynamic transitions on-and-off camera, effortlessly embraces diverse roles. Film-driven and fashion-forward, it's kinda fitting that Tan can front Lee Hwa. Given his experience as the first Singaporean actor invited to global designer brand events at both Milan and Paris Fashion Week, this ambassadorship marks a pivotal moment in the heritage brand's evolution.
Lee Hwa adds to that momentum with ITALGOLD, a collection of fine 916 Gold jewellery that showcases artisanal Italian craftsmanship in Singapore. As his first act with Lee Hwa, Tan will curate a signature ITALGOLD collection that reflects his philosophy of style transcending boundaries and inspiring self-expression for both men and women. Tan will also headline major campaigns for Lee Hwa in the upcoming months, showcasing the brand's hero diamond line, Destinée.
When Bulgari speaks of the “Italian Genius”, it is referencing Italy as home of the luminaries of science and the arts. From Leonardo Da Vinci’s visionary inventions to the astronomical theories presented by Galileo, to the Renaissance masterpieces by Raphael, Sandro Botticelli and Michelangelo, there is no doubt Italy has been a hotbed of creativity.
Bulgari continues this heritage with the B.zero1 collection. It is a fine example of Bulgari’s Italian Genius manifestation—iconic in its own right, with a strikingly distinct look that is immediately recognisable, even from afar. It’s a statement and a staple credited to its unique design language and its use of clean lines. What started in 1999 as a ring inspired by the Tubogas technique—an industrial- inspired method pioneered by Bulgari—has seen many iterations, each version exploring a different facet of the B.zero1.
Yet, through it all, the foundational design of the B.zero1 stands on its own. Reminiscent of Rome’s Colosseum with its sinewy flowing lines embedded between two thicker edges; these are key characteristics that are the focus of Bulgari’s 2024 B.zero1 novelties.
At its simplest, the B.zero1 Essential ring is a basic band branded with the Bulgari logo that’s fitted with a single diamond. Taking it up a notch is a three-band B.zero1 available in 18k rose, yellow, and white gold. Within the circumference of the ring is the interior wave with a diamond pavé set at the edge. The collection’s Mona Lisa is a truly a fearless design rendered in a two-band rose or white gold. Instead of the iconic wave, the interior is bedecked with pavé diamonds. Multiple-sized diamonds were used to create a three-dimensional depth and flow, which captures the fluidity of the original design.
And there will be more to come: two matching bangle bracelets are set to be released in June this year. The bracelets round off the entire collection as well as offer more styling options.
While American businessman Bert Lance may have reason to propose that “if it ain’t broke, don’t fix it”, that is evidently not how a genius operates. If the constant exploration of creative expressions is a measure of one’s ingenuity then, Bulgari will keep searching for new ways to elevate and refresh an icon like the B.zero1. Because resting on one’s laurels does not break boundaries. This is one of the brand’s noble goals it aims to embody.
Pharrell Williams is renowned as a visionary whose creativity transcends music, art, and fashion, solidifying his global cultural icon status over two decades. His boundary-breaking efforts across diverse realms underscore the level of innovation, pioneering spirit, and entrepreneurship he embodies.
Given Williams' stature and influence, it's unsurprising that he has a track record of collaborations with other fashion houses under LVMH and beyond. Notably, he showcased a pair of custom Tiffany & Co. sunglasses while attending Kenzo's Autumn/Winter 2022 runway show. Crafted from 18k gold and embellished with 61 diamonds totalling 25 carats, along with two emerald-cut emeralds, the sunglasses unknowingly became a teaser to Williams' partnership with Tiffany & Co..
An official collaboration between Tiffany & Co. and Williams became inevitable. The Tiffany Titan Collection by Pharrell Williams showcases a remarkable fusion of ancient mythos and modern aesthetics, symbolising vitality, strength, and unwavering resolve.
“I’m very inspired by water, and the name of this collection “Titan” draws inspiration from Poseidon, ruler of the sea, King of Atlantis—“Atlantis” which is also the name of the community I grew up in Virginia Beach. The detail in all of the jewellery pieces is very intentional, the use of black titanium…it’s a physical manifestation of beauty in blackness,” explains Williams.
Featuring 19 unique styles—12 in recycled 18k yellow gold and seven in titanium—this collection comprises of an array of necklaces, earrings, bracelets, and rings. Each design harmoniously merges luxury with creativity, encouraging wearers to confidently express themselves.
The pieces adopt the structure of the trident with its angular spear-shaped motif. A symbol of unconstrained individualism, the motif is juxtaposed by a uniquely shaped link that juxtaposes the sharpness of the spear, portraying a dialogue between tensions, proportions and balance.
The pavé pieces are set with fishtail and reverse-set diamonds, strategically placed to catch light from all angles so that the brilliance of every facet is amplified. Meanwhile, titanium accents undergo a molecular process, resulting in a striking deep black hue that enhances the yellow gold features of a range of pieces for a more graphic proposal.
The attention to detail is undoubtedly meticulous. The clasps on the necklaces and bracelets seamlessly integrate with the trident motif for a flawless, uninterrupted look. Adding a dynamic touch, the pendants, earrings, and rings boast rotating elements designed to move with the wearer—another example of Tiffany & Co.'s unexpected inventiveness, much like its collaborator's.
Tiffany Titan by Pharrell Williams will be available this May exclusively on Tiffany.com in the US and at The Landmark in New York City. The collection will be available globally at Tiffany & Co. stores and Tiffany.com in June.
The legendary couturier Christian Dior adopted a structured creative process when designing a collection. He would pin fabric swatches onto his design notes. These swatches were often arranged in a row, accompanying an illustration of the ensemble it is intended for. While they were typically cut into rectangles, the size of each swatch varied—the natural result of a human’s touch. Dior Joaillerie’s artistic director Victoire de Castellane interpreted this uneven arrangement as mineral strata, compressing links of multiple facets into a stunning piece of jewellery for Gem Dior.
The original Gem Dior collection was a literal interpretation of both couture and nature as de Castellane opted to inlay different gemstones onto gold links to create colourful combinations reminiscent of the miscellany of fabric swatches used by Monsieur Dior. In 2023, the artistic director took a 180-degree turn and offered a minimalist series with slabs of gold, with and without diamonds, immediately making the Gem Dior collection more gender-neutral than before.
The latest expansion to Gem Dior can then be considered as a combination of the original and the 2023 versions. Retaining the essence of the original, the latest Gem Dior pieces consist of yellow, white and pink gold foundations that are then decorated with either a uniformed string of diamonds or a beautiful gradient of diamonds, tsavorite garnets and sapphires in one single piece. The latter echoes the original’s combination of different gemstones while refining the approach.
The new collection is available as bracelet, ring or earring, all individually sold for contemporary styling. We love that there is no wrong way to wear any of the pieces. You can sport a Gem Dior ring as the sole piece of jewellery for a subtle statement. Or you can add a bracelet or two to your existing wrist stack. You can even pair two different earrings together as an assertion of individual style. The relative refinement in the latest Gem Dior collection calls for a celebration of one’s natural leanings. How you feel like wearing one is exactly how it’s intended to be worn.
You’d hardly forget your first brush with the Cartier Trinity. That initial experience of sliding the Trinity ring onto a finger is a mind-blowing gesture as the three intertwining elements take their turns to glide smoothly over the skin. It’s an unexpected sensation. You wouldn’t think that something as solid as gold would move in such a way; seemingly without friction.
It’s even more impressive to know that the Cartier Trinity was created 100 years ago. The earliest iteration of a three-band ring by Cartier was released in 1924. That included three intertwined bands crafted in platinum, rose gold and yellow gold. A bracelet was also made in the same year. Owing to the ring’s minimalist design—many variations of colours and materials were developed over the years. However, it went on to be seen on several men in the art world from the 1930s onwards. French poet Jean Cocteau was famous for stacking two rings on his little finger, while actors Gary Cooper and Alain Delon opted for one on the same digit.
It wasn’t until 1997 that Cartier officially adopted the now-iconic “Trinity” moniker for all of its three-band, three-gold jewellery. Although the first “Trinity” was seen earlier, in Vogue in 1925.
Since then, the creativity surrounding the Trinity has been limitless. Proportions of the Trinity have been rendered in a few different ways over the years, and the materials have only got more precious. In 2004, a Trinity bracelet was introduced as an XL version and paved completely with pink, yellow, and white diamonds. A 2011 version saw the use of black ceramic and white gold for a stunning monochromatic piece. And who could forget 2022’s collaboration with Chitose Abe of sacai where the Trinity was spliced into six modular creations, including one that could be worn as an earring or a ring?
There’s no reason to doubt that Cartier would up the ante for its icon’s 100th anniversary. Deviating from the roundness of its original—a shape that has stayed relatively consistent throughout the decades—the latest Trinity has been transformed into a cushion-shaped masterpiece. This rendition, while more geometric in expression, stays true to the original’s mechanics, sliding with the same naturalness. The cushion-shaped version comes in the classic and large model rings all in gold or paved with diamonds, a bracelet as well as a pendant.
Pushing the limits of its creativity further is a modular Trinity ring. This creation allows the wearer to turn the three intertwining bands into a single wide, large band. In the latter state, the ring can unfold to reveal its diamond interior and function as seamlessly as the Trinity ring we’re all familiar with. “Like a Kumiki puzzle, we envisioned the Trinity bands interlocked as one structure, and then designed in reverse to deconstruct them into three. This naturally creates multiple ways to wear the same ring, which makes this Trinity so contemporary and adds to its universality,” says Cartier’s director of watchmaking and jewellery design Marie-Laure Cérède.
But of course, celebrating an icon also means paying homage to the past. Cartier has also brought back the Trinity bracelet but this time, supersized it in an XL version with an equally maximalist ring to match. Now, how's that for a three-pronged approach to celebrating a three-band icon?
2024 is quickly becoming the year of the lapel pin as exemplified by the range seen at the recent Academy Awards. But it was two weeks prior, at another award show, that we were taken by quite an extraordinary lapel pin.
Now, we're not saying that Paul Mescal at the 2024 BAFTAs ignited a sudden re-embrace of lapel pins (and some pretty bejewelled ones at that), but the Cartier piece added to his Gucci suit was such an unexpected surprise in the best ways possible. At first glance, the sharp-edged design looked like individual pins layered atop of each other. However, they're a whole set with its connection hidden at the back of the jacket's lapel. Its name? The Cartier Libre Polymorph jacket lapel gem—crafted in white gold and decorated with garnets, onyx and diamonds.
The Cartier Libre collection isn't exactly new. As the name suggests, it's a completely free expression untethered by conventions of jewellery and watchmaking as well as Cartier traditions, and has resulted in some truly inspiring pieces by the Maison. The Polymorph collection that sits under Cartier Libre however, is the latest creative expression—a collection of watches and jewellery that all share the ability to transform.
No, they don't mechanically move and turn into something else (although judging by the debut collection, it certainly isn't out of the realm of possibility). The Cartier Libre Polymorph collection is inspired by the constant motion of nature, resulting in pieces that are flexible and draws on the Maison's passion for surprise and bringing refined creations to life.
A fine example of this is a Polymorph ring consisting of four rotating discs of white gold, onyx and diamonds. The ring imitates the movement of a solar eclipse with each disc varying in design and size. The full extent of its width can be unfolded on the hand or folded inwards to create a single focal point of a spiral of discs that seems to be in constant flow. It's a show-stopping piece and definitely looks better than a fidget spinner.
One of the collection's more curious objets d'art is a bejewelled carabiner. The precious object is smaller than the size of one's palm but is intricately riddled with baguette diamonds, brilliant-set diamonds, prong-set sapphire and emeralds. In the centre sits a rotating component showcasing a diamond-paved dial surrounded by emeralds and sapphires. At the 12 o'clock position sits a ruby, while beads of lapis-lazuli, onyx, black spinel, turquoise and chrysoprase coil around either side of the dial.
But the main point is that it's a carabiner, and like every other carabiner, it opens up. The Polymorph piece does so with a touch of a sapphire cabochon that activates the diamond-paved band bordered by rubies that it sits on. Talk about decadent.
While Mescal's lapel pin was a unique piece, this next brooch is an incomparable stunner. The panther is Cartier's insignia through and through. Hence, it's no surprise that it would make an appearance in the Polymorph collection too and this time, in quite a menacing interpretation.
Shaped like four claws of the panther, the brooch is crafted from four large moonstones and snow-set diamonds with custom-cut onyx. It sits right at the edge of a lapel, appearing to grip the and display only a hint of its power. But even then, the surprise doesn't stop there. When pressed, a hidden miniature dial is revealed. Smart, audacious and bold—a creative expression like no other.
There are of course more pieces in the Cartier Libre Polymorph collection, including a bracelet that bursts like the sun's rays. But even just these three aforementioned pieces are enough to showcase the unbridled creativity that's at the heart of the Maison. And to think that this is just the beginning.
On a warm afternoon in the middle of nowhere, Antony Lindsay, the newly-appointed CEO of Fabergé sits before us as the ice in a glass next to an unopened can of Coke, tinkles as it melts. As the CEO of a storied brand like Fabergé, Lindsay’s task is to spread the word (and work) of the Romanov’s favourite jewellery house. With Sincere Watch Limited as its official retailer in Singapore, Fabergé continues to make its presence known. And yes, Fabergé is synonymous with the gem-encrusted eggs but the house has other achievements like jewelled boxes; animals carved out of precious stones and other ornamental objects.
In 2007, the brand underwent a revival. Taking inspiration from its storied past, Fabergé created original pieces like the Vissionnaire watches, where a Chronograph model displays two time zones at once, and the Altruist line, which has a clean and simple-to-read dial, with a crown that’s reminiscent of winding up a traditional clock. The collection that secured Fabergé’s footing in the hard jewellery world is the Compliquée models, which won the 2015 Grand Prix d’Horlogerie de Genève award.
As water pool at the bottom of the glass, Lindsay talks to us. About his history, where Fabergé is at and the future.
ESQUIRE: Did Sean Gilbertson (Fabergé’s last CEO) leave you with any wisdom when you took over?
ANTONY LINDSAY: [laughs] There’s been many over the years. I’ve known Sean, coming up to almost 14 years, and we shared some moments, both good and challenging. Nothing springs to mind... except for this Winston Churchill quote, “If you ever find yourself going through hell, keep walking.”
ESQ: What’s your journey been like?
AL: I come from a family of jewellers and had an interest in gemmology at a young age. I’ve been neurolinguistically programmed to appreciate jewellery, timepieces and objets d’art just by hanging out at my dad’s atelier on the weekends. I’d look at the gemstones handled by the craftspeople. I have an appreciation for hard luxury and completed my apprenticeship as a bench jeweller. I’m proud of having played such an important role within Fabergé for about 14 years. I’ve worn different hats as well. Proud when I was appointed MD and was invited to join the board of Gemfields UK Limited. As well as becoming CEO this year.
I feel privileged and fortunate to be part of a team to write the next chapter of one of the most celebrated names in luxury. I see that as an honour. It’s the revival of the coloured gemstones on one hand and it’s also the revival of Fabergé on the other. It’s what keeps us very busy.
ESQ: What sets Fabergé apart from the rest of your competition?
AL: I’d say that Fabergé’s reputation for unrivalled craftsmanship and design is globally recognised. I’d say Fabergé’s diverse use of techniques like the guilloché enamel with the use of hard stone or visible setting. In keeping with tradition, we seek to work with the finest ateliers. Because we don’t have our own workshop, we seek out workmasters all around the world. That’s quite unique to us.
ESQ: Speaking of tradition, how do you maintain that heritage while courting the newer generation?
AL: That’s a good question. It’s important to us that we pay homage and recognise what was done in the past. We draw inspiration from Peter Carl Fabergé, whether that be through his philosophies, values or craftsmanship. To apply it in a modern and contemporary and relevant way; we like to consider ourselves as a forward-thinking brand.
ESQ: How did your partnership with Sincere come about?
AL: I’d say that we are actively looking to partner with the finest retailers in existence. We don’t profess to understand every market on the planet. So, we believe that by partnering with the best of the best, who understands how to represent a brand like Fabergé; and how to offer first-class customer service... that’s very important to us. Sincere Watch Group is the perfect fit for Fabergé and we’re delighted that they are representing us here in Singapore and soon in other parts of South East Asia.
ESQ: What would you introduce to someone new to Fabergé?
AL: I would introduce the Compliquée Peacock watch, which is quintessentially Fabergé. We took inspiration from the Imperial Peacock Egg and, in keeping with the Fabergé tradition, we sought out the finest watch movement manufacturer and that led us to Jean-Marc Wiederrecht of Agenhor and now his two sons, Nicolas and Laurent, who run the business on a day-to-day basis. Throughout the discussions with them, we made the Peacock watch that has a special retrograde movement, that functions off four gears, and that allows us to add a feature for the peacock’s tail to unfurl.
ESQ: Peacocks, playing cards; are there other motifs that will utilise that movement in the future?
AL: There are some plans and they are confidential. [laughs]
ESQ: You talked about Fabergé as a book that you’re proud to be part of. What is the next chapter?
AL: To continue this revival and personally—and I know I speak on behalf of my co-workers—it’s about ensuring that the Fabergé story can still be told. What Fabergé symbolises is more than simply luxury and decadence. For us, it’s about creating prized possessions that can stand the test of time and be passed down through the generations. That’s important to us and runs through our DNA. You can scour through Christie’s and see that Fabergé is one of the highly sought-after hard luxury names in existence.
Dwyane Wade—the NBA luminary with 13 All-Star appearances and three championship victories knows about baller pieces. He was recently spotted in Miami, donning Aequa & Co.'s Thick Curb Chain, which paired well with his refined, silky floral prints for a relaxed and confident vibe. A relative newcomer in the world of Aequa & Co. caught the eye of Wade, as well as the attention of the fine jewellery world.
In the midst of age-old luxury establishments, Aequa & Co. is a breath of fresh air. As an avant-garde trailblazer, it broke barriers to introduce a more inclusive era in men's fine jewellery. Departing from the conventional, Aequa & Co.'s artisans (who hailed from esteemed maisons like Cartier and BVLGARI) are pioneering a daring renaissance. Mixing each creation with raw innovation and artistic freedom, you get an exhilarating departure from the safe confines of traditional labels. It's a contemporary collection resonating with potency, adaptability and genuine opulence.
Crafted exclusively from premium, ethically sourced materials—ranging from 14K to 18K solid gold, natural diamonds, pearls, and gemstones—Aequa & Co. caters to the discerning tastes of the modern man. It yields sophistication and yet won't break the bank. Aequa & Co. can circumvent the hefty price tags by overseeing the entire production in-house and bypassing intermediaries and exorbitant markups.
Whether you dress up or down, your Aequa piece seamlessly adapts to every setting. Their offering is a subtle yet distinctive statement that complements any ensemble effortlessly. From morning meetings to evening soirees, its subtle elegance punctuates your style, elevating every moment with an understated touch of sophistication.
And now you know: in the pursuit of that lap of luxury, it's readily accessible; just a mere step away from looking like Dwyane Wade or just looking like a million bucks.
If you're anything like me—an adult almost in his mid-30s who still plays Pokémon (the actual Nintendo Switch series; not that Pokémon GO nonsense)—this would probably tap into the very recesses where your inner child is buried. Tiffany & Co.'s latest collaboration with Daniel Arsham of Arsham Studio is a Pokémon-themed capsule collection. And it's quite a stellar one at that.
Now, there have been a plethora of Pokémon team-ups in the past couple of years. Tiffany & Co. isn't even the first jewellery-themed collaboration—a partnership with Tom Wood was released early last month, which saw a number of Pikachu charms on bracelets and necklaces. What sets Tiffany's effort apart is Arsham's interpretation of familiar Pokémon characters that has been part of the artist's oeuvre.
The Tiffany & Arsham Studio & Pokémon capsule collection continues Arsham's exploration of his "Future Relics" series. Treating his creations as though they're archaeological finds, the works are typically crafted to look aged and somewhat destroyed by time. And in the case of Pokémon characters—a treatment he debuted in his Japan exhibition, A Ripple in Time—they feature the reveal of a crystalline exoskeleton at various parts of each figure.
Amping up the exploration further, the Tiffany & Arsham Studio & Pokémon capsule collection replaces the crystalline treatment with diamonds. That means, all of the six Pokémon characters chosen for this collaboration—Charmander, Squirtle, Jigglypuff, Cubone, Mew and of course, Pikachu—have been crafted with diamond accents. The main collection is made from oxidised sterling silver to give a distinct worn out look and works beautifully to highlight the diamond accents. Two different iterations of Pikachu pendants—a small standing figure and a larger sitting one—are specially cast in yellow gold as a play on the emblematic character's yellow fur.
If you're already eyeing the Tiffany Blue Pokéball, that's only exclusive to the yellow gold Pikachu necklaces. The rest of the capsule collection comes packaged in a Tiffany & Arsham Studio & Pokémon Blue box.
But here's the kicker: this isn't a global release. The entire capsule collection will only be available at the Tiffany & Co. Landmark in New York City, Omotesando store in Tokyo and Tiffany.com in North America and Japan. Enrolment for online purchases in the US opens on 29 November 2023 at 9am EST and closes on 30 November 2023 at 9pm EST, with notifications of the outcomes to be released on 1 December 2023.
Time to renew those long-lost friendships in the US and Japan, folks.
