In 1845, New York jeweller Tiffany & Co. published The Blue Book, a stylish catalogue featuring some of the world’s most precious stones. Over the decades – and through the acquiring of incredible gems, translated into jewels by acclaimed designers – the concept has become a modern showcase of today’s high jewellery collections.

A celebration of Tiffany & Co. design motifs has stayed consistent throughout, intertwined through the new Hidden Garden collection. Bold and bright pieces nod to designer Jean Schlumberger, in flora and fauna drawn in rainbows of colourful stones.

In The Bee piece, Schlumberger’s Two Bees ring inspires oval diamonds which sink into yellow gold honeycombs. A necklace is the reference for The Monarch, which sees a butterfly hiding in platinum foliage, while The Parrot’s blue and purple sapphires and feather motifs pay eclectic tribute to parrot brooches from the sixties.

Elsewhere, buds in unenhanced Zambian emeralds and diamonds nod to Schlumberger’s historical floral motif, while Palm’s sensual twists of leaves, from which peek unenhanced oval rubies from Mozambique, underline the gemology authority at the heart of the jewellery house.

‘Blue Book 2026: Hidden Garden reflects our continued commitment to creativity, craft and the highest standards of gemology,’ says Anthony Ledru, chief executive officer, Tiffany & Co. ‘This collection - one of Tiffany & Co.’s most important traditions for over a century - honours the legacy of Jean Schlumberger while demonstrating how we continue to evolve it for today’s high jewellery client. Under Nathalie Verdeille’s creative leadership, and in close collaboration with our gemologists and artisans, we are pushing the boundaries of design and technical excellence.’

tiffany.co.uk

There’s been more than a little expectation around how Tiffany & Co would do men’s watches since its acquisition by LVMH. We got a glimpse into the future with the company's preview at this year's LVMH Watch Week in Milan, with highlights including the new 40mm chronograph Timer and the Eternity Baguette.

A 60-piece limited edition cased in platinum with an El Primero chronograph movement from Zenith, the Timer's treatment blurs any sense of boundary with the jewellery watches, and not just because the hour markers are baguette-cut diamonds. The dial is Tiffany blue, applied in 15 layers of lacquer, and there other touches linking the watches to the jewellery collections, including a faceted crown designed to recall the six-pronged Tiffany setting for solitaire rings. The winding rotor visible through the caseback, meanwhile, is a stylised Bird-on-a-Rock motif linking the watch to Jean Schlumberger’s iconic design for the house.

The small size of the edition means that it will likely be snapped up fast by existing clients.

More directly inspired by Schlumberger’s original design, the Sixteen Stone Mother-of-Pearl watch, also shown in Milan, references the cross-stitch motif, a nod to the designer's heritage in textile manufacturing. The dial features a central mother-of-pearl disc encircled by an outer ring crafted from yellow gold stitches and adorned with 24 round brilliant diamonds that rotate freely in response to the wearer’s movements; making these stitches involves a meticulous process spanning 25 hours, including precision mould-making and hand-polishing each gold stitch.

Housed in a 36mm white gold case, the watch is snow-set with 413 diamonds, while the caseback bears a sunburst engraving taken from the Schlumberger Floral Arrows brooch. It’s paired with a Tiffany Blue alligator strap, fastened with a diamond-set white gold buckle.

Tiffany’s priority is firmly on the jewellery for now, but with a back-catalogue so full of design gems, our watch expectations are high.

tiffany.co.uk

For A/W 2025, high jewellery encompasses bold and colourful forms. From Fernando Jorge's fluid silhouettes to Buccellati's pop of colour and Hermès' intricately rendered cuff, it's all about the details.

For Louis Vuitton, silhouettes are oversized, while Cartier's delicately sized earrings champion the pared-back. Van Cleef & Arpels and Tiffany & Co demonstrate their mastery of embellishment, while Piaget's delicate watch swinging from a necklace of precious stones rewrites jewellery rules entirely. Taken together, these pieces make for high jewellery that is exciting, bold and very modern.

This article appears in the November 2025 Art Issue of Wallpaper*, available in print on newsstands from, on the Wallpaper* app on Apple iOS, and to subscribers of Apple News + from 9 October. Subscribe to Wallpaper* today

Discovering new artists to love is easily the best part of Frieze, something that can occasionally get lost in the chaos. For the last couple of years, Frieze has underscored its importance with the brilliant Artist-to-Artist initiative, which sees established artists highlight their emerging or overlooked peers at their own solo exhibitions at the fair.

Now in its third year, the section has for the first time announced a partnership, with Tiffany & Co working alongside the art fair to provide Artist-to-Artist with support and funding which will see the six participating galleries receive direct financial assistance. This year’s solo presentations - Ilana Harris-Babou (Dreamsong), selected by Camille Henrot; Katherine Hubbard (Company Gallery), selected by Nicole Eisenman; Ana Segovia (Kurimanzutto), selected by Abraham Cruzvillegas; Neal Tait (Lungley Gallery), selected by Chris Ofili; René Treviño (Erin Cluley Gallery), selected by Amy Sherald; and T. Venkanna (Gallery Maskara), selected by Bharti Kher - will benefit from the initiative’s new direction.

‘Tiffany & Co.’s support allows us to expand the impact of Artist-to-Artist, a section that celebrates artistic community and exchange,’ says Eva Langret, Director of EMEA, Frieze. ‘By enabling direct funding to participating galleries, this partnership helps ensure that the artists’ visions are brought to life and seen by a global audience.’

For the six artists chosen this year, a mentorship opens up the possibility of new audiences and inspirations. Here, American and Senegalese contemporary artist Ilana Harris-Babou, chosen by Camille Henrot, tell us what showing her work at Frieze means to her.

Ilana Harris-Babou on Artist-to-Artist at Frieze

Your work, spanning mediums, resists easy classification. What draws you to a specific mode of expression?

My choice of medium is driven by the specific qualities that best serve an idea and my desire to connect with an audience. The immediacy of video, the tactility of sculpture, and time spent in community are all central to my practice.

When I’m in the studio, I’m often hopping between different modes of creation. I find that many of my initial ideas resist language and need to be worked through materially before I can fully understand what I’m trying to do. The color of a certain clay might surface memories of a particular intersection in my neighborhood. I’ll think of a song I heard someone playing from their car at that location and realize that the lyrics are deeply related to the sentiments in a video I’m editing. This cycle of rediscovery can only play out across materials.

Viewers discovering your work through familiar popular culture tropes and viral trends may be unprepared for the gentle subversion they are treated to. It is a juxtaposition, which runs throughout your works - what fascinates you about it?

I’m interested in exploring the messy moments when we can’t fully conform to systems of consumption. When our bodies feel unwieldy, or when they’re forced to rest, break down, or quit altogether. I investigate how we might misuse these systems in generative ways.

My ideas are shaped by the scale shift from domestic space to the public sphere. In my work, humour acts like the sugary coating on a Tylenol table: sweetening difficult discourse and helping to digest painful realities. I try to offer as many points of entry as possible to my audience. I seek to make art that is generous, challenging viewers while always giving more than it takes.

Can you tell us a bit about what you will be presenting at Frieze London?

For Frieze, I’m presenting the first experiment in what will hopefully become a broader body of work.

My work here takes Audre Lorde's poem, "A Litany for Survival," as a starting point to explore the friction and connection found in urban democratic spaces like subways, beaches, and parks. The centerpiece is a three-channel video, Njambat (Litany), which I shot in New York, London, and Senegal. It's modeled after the digital advertisements in the NYC subway, and the soundtrack features a reading of Lorde’s poem translated by my father into his native Wolof language.

Alongside the video are mosaic wall reliefs inspired by the subway system. One piece, Index, is a large relief made of hundreds of cast ceramic fingerprints and swipe gestures. The work explores the ways we move together in spite of fear. It is a celebration of the city and the improvisatory gestures of the people within it, seeking out moments of ephemeral expression and solidarity.

I was initially hesitant to show a video so personal and experimental in an art fair context. Now I’m excited to share the work with an international audience, to get feedback, and to continue the evolution of my ideas.

Frieze London from 15 - 19 October

One of the most prominent jewellery trends to emerge from the resurgence of maximalism is layering necklaces. Although the style is about making a statement, it also feels casual – the throwing of styles on top of one another to create something coherent. But if you’re looking for lower-effort still, many jewellery designers have created ready-made stacked styles.

How to layer necklaces

The layered necklace look might look like an afterthought, but there is method to the madness. The trick is variation – combining different styles, lengths and even metals.

Balance is key: think about a graduation of length, from chokers to plunging pendant necklaces, and mix sleek, minimalist pieces with chunkier, more detailed statements. Numerous textures will also help to create variety: snake chains, rolo chains, rope chains, and so forth. Don’t be afraid to mix stones and metals or add beads, pearls and pendants, from charms to T-bars. Start with just two or three necklaces, and then layer on as many as you feel works.

To prevent tangling, you can try clipping the clasp from one necklace to the extension of another, allowing you to change their lengths.

A necklace detangler may also come in useful: you can attach multiple necklaces to this accessory, which essentially turns them into one multi-chain necklace, keeping them separated on your neck so that they don't twist around each other.

Wallpaper’s favourite layering necklaces

Drawing on an eclectic roster of references, high jewellery this year unites historical techniques with rainbows of precious stones. Whether cutting sharp geometrical silhouettes or undulating forms, a bold high jewellery accoutrement calls for statement clothes. Clashing patterns, oversized collars and billowing tops - here are the best partners for a very special collection.

A version of this article appears in the April 2025 issue of Wallpaper*, available in print on international newsstands, on the Wallpaper* app on Apple iOS, and to subscribers of Apple News +. Subscribe to Wallpaper* today

Back in May 2024, we covered the first drop by Pharrell Williams and Tiffany & Co, ‘Tiffany Titan’, a punkishly spiky jewellery collection featuring 19 yellow gold and titanium pieces, while a second release in September featured designs using freshwater pearls. Now, January 2025 sees the luxury jewellery house launch its third drop, two new jewellery collections that combine Tiffany & Co’s inventive craftsmanship with Pharrell’s creative vision.

The first – an extension of the ‘Tiffany Titan’ collection – features Tahitian cultured pearls responsibly sourced from French Polynesia, creating a darker yet equally lustrous counterpart to the luminous freshwater pearl styles dropped last year. Encompassing a pendant, earrings, necklace, bracelet and ring, crafted in 18ct rose gold with pavé diamonds, the collection juxtaposes a spear-like motif that draws inspiration from Poseidon’s trident with a softly curved link and large, high-lustre Tahitian grey pearls with overtones ranging from green to purple.

‘It’s incredibly fulfilling as an artist to take something as established and well-known as pearl jewellery and reinvent it; to put my creative spin on it,’ says Pharrell. ‘I’m fortunate that Tiffany & Co has given me the tools, the opportunity, and its trust to continue to build on a classic and make it something new.’

Meanwhile, the ‘Titan Setting’ collection, which features pendants, earrings and a ring, is designed to make the diamond appear as though it hovers in air – the gem is secured in place by a ‘Floeting’ platform, a micro-groove that is laser-cut around the diamond’s underside, so there’s no need for any visible prongs or bezels. With the earrings, the diamond seemingly becomes part of the ear. On the earring jacket, which can easily be removed, three spear motifs each point towards the diamond. A multi-shank ring features two diamond bands connected to the central diamond with four spear motifs, further emphasising the ‘hovering’ effect.

‘I wanted to explore the concept of floating,’ says Pharrell. ‘The whole collection is a continuation of pulling from the inspiration of Poseidon and the sea. I worked directly with the creative teams at Tiffany to integrate the Floeting platform into the setting to give the illusion of that hovering effect.’

Both collections will be available from tiffany.co.uk and at Tiffany & Co stores around the world

Taking over the windows at Selfridges in London this month, Tiffany & Co pays homage to its nearly 200-year history and the famous window displays at its Fifth Avenue store in New York. Celebrating the luxury jeweller’s longstanding love of art, design and exquisite craftsmanship, this open-to-all gallery features works by four British contemporary artists alongside window displays inspired by the Tiffany Archives.

From the very first store opening in New York in 1837, the striking windows have been a signature draw and a proud tradition, with its enduring allure epitomised by iconic film Breakfast at Tiffany’s, in which the lead character, played by Audrey Hepburn, is constantly drawn to the store’s creative displays. When Gene Moore joined the company in 1955, he revolutionised the look of window displays, with his pioneering designs juxtaposing Tiffany jewellery with unexpected, everyday materials like string, popcorn and toys. He also enlisted the likes of Andy Warhol, Robert Rauschenberg and Jasper Johns to collaborate with him. Meanwhile, to celebrate the world premiere of The Great Gatsby film in 2013, director Baz Luhrmann and production designer Catherine Martin created windows glistening with Jazz Age glamour.

Honouring this longstanding connection to the arts, Tiffany & Co commissioned four artists – Damien Hirst, Rana Begum, Jason Bruges and James Righton – to reimagine Selfridges’ windows, with the designs displayed against the backdrop of heritage displays from the jewellery house’s archives. Hirst and Begum both took inspiration from Elsa Peretti’s sculptural bone cuff for Tiffany, with Hirst’s creation intertwining Tiffany’s signature blue with the butterfly, a recurring theme for the artist, and sculptures of medical packaging that reflect his Pharmacy series.

Meanwhile, Begum’s geometric reflective composition explores the interaction of her artwork with the body, movement and light. Bruges uses mathematics and algorithms to explore how generative beams of light interact with the internal volume of a diamond, creating a stunning kaleidoscopic effect. And Righton’s hypnotic, ever-changing piece is an aural expression of life’s ongoing cycles, its illuminated circles undulating to evoke a heartbeat. Within this immersive interplay of light and sound, Tiffany’s HardWear collection seamlessly takes centre stage.

After taking in the Tiffany & Co windows, which are on display until 20 October, visitors can explore the jeweller’s new store within Selfridges, inspired by its Fifth Avenue flagship in New York.

selfridges.com, tiffany.com

At the heart of high jewellery collections lies a dedication to showcasing the rarest and most precious gemstones, putting them in the best possible light. For this year’s new releases, high jewellery houses zoned in on colour, eschewing traditional pastels for a generous rainbow of hues, from the muted and abstract to the brilliant and bold.

Shimmering prisms are the central focus for Hermès’ creative director of jewellery, Pierre Hardy, who continues his exploration into the brilliant refraction of coloured stones with his ‘Les Formes de la Couleur’ collection. Hardy, who studied colour theory for his art degree, is a master of illusion, conjuring up geometric plays with architectural cuts of an array of precious stones, including rubies, beryls and sapphires. The collection marks the first time in the house’s history that such a large selection of stones has been used, with semi-precious and precious stones sitting together in a wide-ranging celebration of nuanced gradients. Teasing, modern references run throughout, such as with the ‘Color Icon’ bracelet, the hypnotic patterns of the stones coyly nodding to a pixellated, digital image.

A play on storytelling also characterises Chaumet’s offering. The ‘Chaumet en Scène’ collection is divided into three inspirations, music, dance and magic, with each drawing on the house’s far-reaching links with the arts. Chaumet’s Paris HQ is at 12 Place Vendôme, which was once home to Chopin, and it was here that he was said to have begun his last work, the Mazurka Op. 68, No.4. With this in mind, the sweeping lines of the house’s graphic ‘Mélodie’ necklace reference the grids and curves of a musical composition. For Francesca Amfitheatrof, Louis Vuitton’s artistic director for watches and jewellery, historical references are united with a freedom of spirit. Her latest jewellery collection for Louis Vuitton is epitomised by elaborate ornamentation and rich design detailing, encapsulated in pieces such as the ‘Splendeur’ necklace. Technically accomplished, it can be worn three ways.

Creative freedom also characterises Tiffany & Co’s ‘Blue Book 2024’ collection, which pays tribute to the artistic legacy of French jewellery designer Jean Schlumberger, intertwining fantasy and celestial themes in a romantic mish-mash. Peacocks, shooting stars and whimsical symbols are drawn in a juxtaposition of diamond cuts and thickly drawn gold – in the ‘Flames’ ring, the medley of cuts become a diamond firework, on the point of exploding in the sky.

Traditionally-cut diamonds are the focus of a heritage bracelet by Van Cleef & Arpels. Dating from 1923, the piece is faithful to the style of the time, when a trend for ‘white jewellery’ – a mix of diamonds and platinum – reigned. The house continues to champion these vintage designs in its ‘Heritage’ collection, which unites pieces created between the 1920s-1990s. A classic diamond bracelet is typical of its time, embracing the art deco sensibilities of clean lines and geometric forms, simplifying a floral design into an elegant arabesque.

Alongside diamonds, milky-hued pearls are perennial favourites in the world of high jewellery. They are a natural choice for Tasaki, which has cemented its status as a pearl specialist since its beginnings in the 1950s, when it became experts in both farming and selling cultured pearls. It has continued to build on this reputation in various ways, including collaborations with Ritz Paris, which began in 2016 to commemorate Tasaki’s first boutique in France and the reopening of the hotel.

The design of its ‘Lumineux’ collection nods to the Ritz’s heritage with the curved silhouettes reminiscent of the hotel’s sweeping staircase, once the centrepiece for the grand balls organised by César Ritz for the crème de la crème of Parisian society.

A European flamboyance is also prevalent in the ‘Diorama & Diorigami’ collection for Dior, designed by Victoire de Castellane, who drew on toile de Jouy, the patterned cloth featuring pastoral scenes that was popular in the 18th century and a distinctive feature in Christian Dior’s aesthetic (he clad his original boutique, Colifichets, in the fabric). In de Castellane’s collection, the flora and fauna are richly interpreted in colourful precious stones. Meanwhile, at Gucci, the mazes and symmetry of a traditional Italian garden form the inspiration for its ‘Labirinti Gucci’ collection. Striking a balance between meticulous planning and wild beauty, a form of ordered chaos is reflected in the smattering of blue-hued stones and the rigorous diamond grid.

Elsewhere, natural themes take a playful turn in Cartier’s ‘Nature Sauvage’ collection. Animals appear where you least expect them: crocodiles coil around the finger, the sinuous body of a snake splits in two to caress the curve of the neck, a snow leopard picks its way across a diamond and rock crystal icecap, while a turtle rests contentedly on a lapel. We feel the call of the wild.

This article appears in the October 2024 issue of Wallpaper*, available in print on newsstands from 5 September on the Wallpaper* app on Apple iOS, and to subscribers of Apple News +. Subscribe to Wallpaper* today

Contemporary takes on enduring American icons of design only remind us of the USA’s extraordinary and enduring creative heft. From Pharrell Williams’ fresh interpretation of the humble cowboy boot to the latest iteration of Apple's MacBook Air, and even Andy Warhol's globally recognised soup cans reserved in puzzle form, here are the American classics that keep us coming back for more.

Icons of American design

Cowboy boots by Pharrell Williams

For his sophomore collection as menswear artistic director of Louis Vuitton, Pharrell Williams took a trip from Paris to Virginia, uniting French savoir-faire with the pioneering spirit of the American West. Case in point: his monogrammed, golden-toed riff on the cowboy boot. Williams spoke of a desire to provide a more expansive vision of the pioneer archetype, noting that Black and Native American cowboys were some of the first to strike westwards. It was to provide a prelude of sorts to Beyoncé’s own Western epic, Cowboy Carter, which the singer gave a pre-launch tease at the 2024 Grammy Awards by turning up in a studded leather Louis Vuitton look by Williams, alongside the requisite white Stetson cowboy hat.

Boots, £6,550, by Pharrell Williams, for Louis Vuitton, louisvuitton.com

M3 MacBook Air by Apple

If there’s one device that epitomises the spirit of modern mobile creativity, it’s Apple’s classic MacBook Air. First introduced in 2008, the Air squeezed the form factor of the modern laptop into hitherto unprecedented dimensions; it was the thinnest notebook computer in the world at the time of launch and Apple’s first computer with asolid-state hard drive, although it was compromised by screen quality and power. It wasn’t until Apple started fitting its own custom silicon into its laptop line-up in 2020 that the Air really came into its own. The latest edition, the M3 MacBook Air, is the de facto choice for music, video and visual design on the move, and will handle the upcoming Apple Intelligence AI integration with ease.

M3 MacBook Air, from £1,099, by Apple, apple.com

‘Black Rainbow’ bag by Telfar

Liberian-American designer Telfar Clemens has long eschewed the confines of the fashion industry with a steadfast refusal to play by the establishment’s rules. Non-gendered and defiantly democratic, it is the Telfar shopping bag that has become symbolic of his eponymous brand’s unconventional approach. Based on the shape of the Bloomingdale’s shopping bag, the vegan-leather tote features the Telfar logo, which Clemens says he first drew while at school. Originally sold in ‘blind’ pre-order drops, with prices starting at $150 – a fraction of the price of bags from the luxury fashion houses it playfully mimics – it fast became an anti-status symbol. ‘[I want to] make an ‘it’ bag where the ‘it’ has nothing to do with domination,’ says Clemens.

‘Black Rainbow’ bag, $191, by Telfar, telfar.net

‘Akari’ lamp by Isamu Noguchi

Japanese-American artist and designer Isamu Noguchi designed the first lamp in his ‘Akari’ series in 1951 after a visit to the Japanese town of Gifu, known for its traditional paper lanterns. Handcrafting the lamp from washi paper and bamboo, Noguchi was mesmerised by the way ‘the harshness of electricity is transformed through the magic of paper back to the light of our origin – the sun – so that its warmth may continue to fill our rooms at night.’ He would go on to create many more in a variety of forms and silhouettes. Over the years, the lamps have kept their timeless charm and desirability, becoming one of the most recognisable pieces of lighting design ever created (a very loose interpretation of the concept by Ikea is among the Swedish company’s best-sellers).

‘Akari 9A’ lamp, £720, by Isamu Noguchi, for Vitra, from Aram, aram.co.uk

Air Jordan 39 sneakers by Nike

It was said that Michael Jordan could defy gravity, a feat of sportsmanship immortalised by the basketballer’s leaping silhouette, which first appeared on the third iteration of Nike’s Air Jordan high-top sneaker. Originally released in 1984, 1.5m pairs were sold in the first six weeks, far exceeding Nike’s estimates, and Jordan received a portion of the profits from every pair sold, making him one of theworld’s most bankable stars. The new Air Jordan 39, released in July, saw Nike designers Joël Greenspan and Bennett Shaw work directly with Jordan on the sleek, ergonomic sneaker, which features long panels of bouncy Nike ZoomX foam in the sole, helping professionals and amateurs alike attempt to reach its namesake’s heady heights.

Air Jordan 39 sneakers, price on request, by Nike, nike.com

‘Americana’ cars by Candylab

With the icons of automotive America mostly distant memories, it falls to the New York-based Candylab to sate our love of Detroit’s golden era. Combining hand-finished custom runs made in New York and Pennsylvania with a manufacturing facility in Ningbo, China, Candylab is a bespoke wooden modelmaker whose ethos is that toys needn’t cost the earth. Each stylised model is made fromsolid lumber sourced from managed forests in North America, brightly coloured using non-toxic paints and packaged up in sturdy paper and cardboard. And Candylab’s ‘Americana’ fleet isn’t just about the muscle car; there are also police cruisers, camper vans, beech-clad surf wagons, yellow cabs, off-roaders and many more.

‘Americana’ taxi, £25; camper, £21; pickup, £25, all by Candylab, candylabtoys.com

‘Lock’ jewellery collection by Tiffany & Co

Padlocks began as purely functional items for Tiffany & Co, which sold them as part of its homeware collections. Then, in the 1950s, padlocks began to be rethought in aesthetic terms, appearing on necklaces, brooches and key rings ,a history referenced in the release of the ‘Tiffany Lock’ collection in 2022. In these pieces, unnecessary details are set aside in favour of streamlined silhouettes. The bracelets, an elongated oval available in yellow, rose or white gold, come peppered with diamonds, or are left pure and unadorned. Taking centre stage is the padlock mechanism itself, with an opening and closing function that echoes the item’s pleasing pivot. Fresh, clean and cool, the ‘Tiffany Lock’ has become a byword for classic American jewellery design.

‘Tiffany Lock’ yellow gold bangle, £7,000, by Tiffany & Co, tiffany.com

‘1006 Navy’ chair by Emeco

Emeco’s story begins in 1944 when it was hired to make a chair using salvaged aluminium for the US Navy during World War II and, over the years, the furniture brand has evolved to become a legend in its field, continuing its focus on superior design and sustainability. Virtually indestructible, the ‘1006 Navy’ chair has remained unchanged since its inception: it is still made by hand from scrap aluminium at the Emeco factory in Hanover, Pennsylvania, with a 77-step process that includes grinding, heat-treating, anodising and brushing. The ‘1006 Navy’ chair’s origins have also inspired Emeco to further pursue sustainable furniture design practices, with a catalogue of seats made using recycled PET bottles, discarded wood and eco-concrete.

‘1006 Navy’ chair, £808, by Emeco, from Viaduct, viaduct.co.uk

Uniform by Thom Browne

Thom Browne is well known for his tailoring, which is often shrunken in proportion, and largely a shade of mid-gray. Other perennial motifs are his signature four stripes, which run around the sleeve of a shirt or across a tie, recalling American varsity wear. It makes for a simple uniform for Thom Browne devotees, who simply follow his style diktats: he favours an unironed shirt (with an undone top button), tucked in and worn with a grey suit, narrow tie and white pocket square. Such a sharply defined aesthetic – which can verge into the surreal in his runway shows – has seen him become one of American fashion’s best-known figures, taking over from Tom Ford as chairman of the Council of Fashion Designers of America (CFDA) in 2023.

Briefcase, £8,260; shirt, £440; tie, £190, all by Thom Browne, thombrowne.com

CK One fragrance by Calvin Klein

If the 1990s were to be encapsulated in a fragrance, it would be the shimmering citrussy tones of Calvin Klein’s CK One, first released in 1994 and a bestsellerever since. Marking an olfactory shift from the heady French perfumes that dominated the previous decade, it would capture the stripped-back minimalism and raw sensuality of the era, designed for both men’s and women’s skin, then a marketing first (‘one for all’, ran its slogan). Its accompanying Steven Meisel-shot campaign, featuring Kate Moss and a bevy of underwear- and denim-clad models, remains an enduring and oft-reproduced piece of fashion imagery, while the bottle itself – frosted white glass with a metal screw top and stamped CK One logo – remains an emblem of 1990s product design.

CK One fragrance, £77, by Calvin Klein, calvinklein.com

Soup can paintings by Andy Warhol

Love them or loathe them, Andy Warhol’s soup cans cracked the conversation around modern art wide open on their exhibition at LA’s Ferus Gallery in 1962. Warhol, who wished to celebrate the international distribution of homogenous products as a sign of democracy, replicated the red and white Campbell’s soup cans that he had for his lunch every day using the precise screenprinting technique that quickly became synonymous with the Pop Art movement. The soup cans became a motif for Western capitalism and rampant consumer culture, forever cementing the links between advertising and art – but the Campbell’s Soup Company, at least, was pleased. In 1964, it commissioned a classic tomato soup for its retiring board chairman.

Andy Warhol soup cans puzzle set, £24 for three, from Amazon, Amazon.com

Baseball cap by Polo Ralph Lauren

There are few things more synonymous with American style than Polo Ralph Lauren. Adorned with the ‘pony and rider’ motif, the collections have come to encapsulate a vision of American ease, reflected in breezy, aspirational campaigns where models frolic amid Edenic landscapes, often with the shimmering Atlantic Ocean beyond. The Polo symbol would also later be adopted by America’s suburban subcultures, from skaters to hip-hop artists and, across the pond, the Britpop stars of the 1990s. Recent seasons have seen the Polo Ralph Lauren pony motif become ubiquitous once again, part of a growing preppy revival – not least the classic, all-American baseball cap, which is proof of the old maxim that a classic never goes out of style.

Baseball cap, £55, by Polo Ralph Lauren, ralphlauren.com

This article appears in the August 2024 issue of Wallpaper*, available to download free when you sign up to our daily newsletter, in print on newsstands from 4 July, on the Wallpaper* app on Apple iOS, and to subscribers of Apple News +. Subscribe to Wallpaper* today

A bird wrapped in diamonds and crowned with a bright gold plume flutters sedately across a dreamy tableau of sakura cherry blossoms and urban skyscrapers. This is the scene that greets visitors at the opening of a new exhibition in Tokyo – a large-scale animation of ‘Bird on a Rock’, designed by Jean Schlumberger in 1965 and perhaps one of the most iconic birds in jewellery history. It’s the first of countless imagination-rich innovations that make up ‘Tiffany Wonder’, a sweeping – and sparkling – exhibition that journeys through the layered history of jewellery house Tiffany & Co, from its 1837 foundation in New York to its modern-day presence.

Inside the sparkling world of ‘Tiffany Wonder’

The exhibition, brought to life by Rem Koolhaas’ OMA, spans 1,430 sq m at Tokyo Node Gallery, on the 45th floor of Toranomon Hills Station Tower, a landmark new skyscraper designed by the same architectural practice. ‘Tiffany Wonder’ flows through a dream-liked sequence of ten interconnected spaces, with shifting atmospheres, textures and gem-like shapes – circular, angular, triangular – balancing intimate elegance and a sense of drama with the layered craftsmanship and creativity for which Tiffany has long been celebrated. Scattered among the immersive installations are more than 500 jewellery pieces and objects related to Tiffany & Co’s history – as well as its deep-flowing ties with Japan – many exhibited to the public for the first time, alongside artisans showcasing live their craftsmanship skills.

'Intimate, cinematic and refined': these are the three words used by exhibition designer Ellen van Loon, partner at OMA, to describe the essence of its creation. 'The aim was to exhibit the history of Tiffany through objects and jewellery created over almost two centuries,' van Loon tells Wallpaper*. 'Understanding the history of Tiffany & Co – how it evolved from an American stationery and luxury goods company in the 19th century to become a jewellery brand and a globally recognised name – was an important point of departure for us with this exhibition.'

She adds: 'Each room is a self-contained environment with a distinct atmosphere, highlighting a specific aspect of Tiffany’s story and work. The individual character of each space is meant to strengthen the relationship between visitors and the objects on display. This intense, intimate relationship between viewer and object emphasises the time needed for creation, the sophisticated level of craft and the attention to detail.'

The journey begins in a large, dark, double-height space featuring a vast screen, upon which dances an animation of the fluttering ‘Bird on a Rock’ against a backdrop of Tiffany’s art deco lamp-style images depicting scenes of Japan. The visuals create a dreamy transition between outer world and inner Tiffany cosmos, paving the way for a string of spaces exploring the company’s heritage. A signature blue corridor lined with a bespoke digitalised tapestry containing a 187-year timeline of Tiffany’s history flows into a circular room. Displays along the way range from legendary early pieces – among them, the sparkling canary and white diamond form of Tiffany’s inaugural ‘Bird on a Rock’, designed by Schlumberger for his friend Bunny Mellon – to the very first Blue Book mail-order catalogue.

Spotlights on design pieces through the years follow, from the vivid early creations of Louis Comfort Tiffany (son of the founder) and the organic forms of Angela Cummings’ 1970s abstractions to Elsa Peretti’s timeless ‘Scorpion’ necklace. As the exhibition segues from one room to another, highlights include a visual portrayal of iconic Tiffany film moments surveyed on rotating cinema seats alongside original costumes from Breakfast at Tiffany’s; craftsmen at work fastening stones and polishing diamonds; and the atmospheric Wonder of Dreams room, a slope lined with iconic shop displays of the past, beneath an angular gem-like ceiling. 

‘As architects, we spend on average between five to ten years completing a building,' says van Loon. 'The awareness that artisans can spend just as long and work just as intensely to create something as small and precious as a piece of jewellery was what we wanted to convey to visitors.

'Our intention was to exhibit the evolution of Tiffany & Co. By presenting Tiffany’s versatility, not only in their designs for jewellery and products, but also through their presence in architecture, music, sport, and film, we were interested in showing the cultural resonance of their designs and the love of craft that has remained a constant throughout their work.' 

Japan is another key ingredient, with ties running deep: pioneering founder Charles Lewis Tiffany offered his clients select imported Japanese goods from as early as 1837. A space wrapped in washi-inspired walls contains a range of Japanese crafts and design goods, reflecting the inspiration Japan has long held for the brand.

'The relationship between Tiffany and Japan has been important since the company's earliest years,' explains Giulio Margheri, associate at OMA. 'The exhibition presents this influence through a series of designs that have become emblematic of the brand, including not only jewellery but also objects like stained-glass lamps and lacquered wood.'

The climax, however, is a towering black triangular installation containing the legendary cornerstone of the jewellery house – the 128.54ct Tiffany Diamond, the world’s largest yellow diamond, set in a 'Bird on a Rock'-inspired design, presented in spotlit glory in a final dream-like flourish.

'The idea of wonder has been integral to our DNA since 1837,' said Alexandre Arnault, executive vice president of product, communications & industrial at Tiffany & Co. 'Since the very beginning, each design that we’ve imagined and each piece that we’ve handcrafted has been rooted in our mission to spark wonder and inspire the world’s greatest love stories.'

‘Tiffany Wonder’ is on display at Tokyo Node Gallery until 23 June 2024, tiffany.com

Pharrell Williams and Tiffany & Co look to mythological motifs for their first jewellery collection, ‘Tiffany Titan’. Williams, a former Wallpaper* Design Awards judge and among the polymathic ‘celebrity shape-shifters’ in the Wallpaper* USA 300, was inspired by Poseidon’s trident for 19 new jewellery pieces that cut spiky silhouettes, juxtaposing sharp spear-shaped motifs with gently undulating links.

Necklaces, earrings, bracelets and rings in 18ct yellow gold and titanium bring a punkish twist to traditional settings. Offbeat features, including reverse-set diamonds to emphasise brilliance and rotating details in the pendant, earrings and rings, add a playful wearability. 

Pharrell Williams and Tiffany & Co’s ‘Tiffany Titan’

The seven titanium designs make an edgy foil for the 12 18ct recycled gold pieces. Put through a molecular process, the deep black hue is a sensual and subdued contrast against the gleam of the gold. ‘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” is also the name of the community I grew up in Virginia Beach,’ says Williams. ‘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.’

The signature spear motif runs throughout, intertwined through the links of a generously proportioned bracelet, dangling from a lobe or worn on a clean gold chain, dusted with pavé diamonds or left unadorned. 

‘We are excited to unveil Pharrell’s inaugural collection for Tiffany,’ says Alexandre Arnault, executive vice president, Product, Communications and Industrial, Tiffany & Co. ‘The Tiffany Titan by Pharrell Williams collection defies the conventions of fine jewellery design. It represents a balance of Pharrell’s creative vision with Tiffany & Co’s inventive craftsmanship. Each piece embodies Pharrell’s distinct style and unique point of view.’

‘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.

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Synonymous with New York glamour, Tiffany & Co has long revelled in its status as an American icon rich in heritage and cultural references. Its jewellery nods to this history in a series of collections that encompass the design codes of the house, from the sculptural and clean to the flamboyant and fun.

Now, Tiffany & Co is celebrating its core collections in a set of new imagery that marries an archival aesthetic with a sharp design modernity. The campaign images are inspired by the displays of designer and window dresser Gene Moore (1910-1998) – a former Tiffany & Co artistic director and vice president – which ignited imaginations around the world.

The theatrical, slightly surreal element remains, running throughout in sets and props that play with proportion. Images have been brought to life with the use of animated projections and smoke in the backdrop, rather than relying on effects imposed post-production. The experience Moore created, of jewellery appearing as the star of the show in an offbeat set, remains thanks to this considered alternative reality.

Pictured here are the sculptural loops of the HardWear collection, looking back to a 1962 Tiffany & Co bracelet, the Sixteen Stone ring created by Jean Schlumberger, as well as pieces from the Lock collection.

Explore the Tiffany Lock collection

Explore Tiffany HardWear jewellery

Discover Sixteen Stone pieces

Find Tiffany Knot

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Rimowa and Tiffany & Co are bringing back a dose of much-needed cool to travel with a new collaboration staying faithful to the design signatures of both brands. The partnership encompasses new Rimowa and Tiffany & Co jewellery cases, as well as a Rimowa and Tiffany & Co Rock Cut Cabin suitcase.

‘We are proud to join forces with Tiffany & Co, another legendary brand with the finest craftsmanship,’ says Hugues Bonnet-Masimbert, chief executive officer at Rimowa. ‘The creation of such purposeful and one-of-kind pieces represents the centuries of expertise behind both brands and the mastery of engineering that we bring to the table.’

The sharp facets of a diamond are translated into the ‘rock cut’ aesthetic of the cases, which also nod to Rimowa’s signature grooved aluminium surfaces. Inside the jewellery cases is the distinctive Tiffany & Co duck-egg blue, which also decorates the handles, luggage tag and wheels of the suitcase. Useful features, such as generous jewellery compartments in both the case and the jewellery box, join options for personalisation, with a large silver plaque in the jewellery case providing the option for engraving. 

Adds Alexandre Arnault, executive vice president of product and communication at Tiffany & Co: ‘We are thrilled to debut the Rimowa x Tiffany & Co collection, bringing together two maisons with unmatched craftsmanship and innovative designs. This one-of-a-kind collaboration unifies two icons in one, both of which are incredibly personal to me and represent the highest calibre of craftsmanship.’

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After an extensive refurbishment, Tiffany & Co has re-opened its iconic Fifth Avenue store in New York City, marking the first renovation since the original opened in 1940. Peter Marino is behind the interior architecture of the new flagship – now dubbed The Landmark – while OMA New York, led by Shohei Shigematsu, oversaw the renovation, including the addition of three storeys to the existing building.

Tiffany & Co Fifth Avenue: step inside The Landmark

‘My main consideration was how to lighten and brighten an American icon without hurting its classic style,’ Marino tells us. ‘We integrated Tiffany & Co’s extensive history – in tribute we used mixed metals, silverworks – and all counters have mixed copper, stainless steel, or brass. There are ten floors, and for all individual spaces, we created unique wall finishes, custom carpets, and different layouts. No two spaces are the same.’

The vast new store is home to a Blue Box Cafe by Daniel Boulud, dedicated museum and exhibition spaces, a floor dedicated to engagement pieces and another to Tiffany & Co homeware, as well as the largest collection of Tiffany high jewellery worldwide. Dotted throughout the ten floors are nearly 40 artworks, including pieces by Damien Hirst, Julian Schnabel, Rashid Johnson, Anna Weyant and Daniel Arsham.

‘The Landmark represents a new era for Tiffany & Co,’ notes Alexandre Arnault, EVP of Product & Communications, Tiffany & Co. ‘The holistic transformation began in 2019 and marks the store’s first complete reimagining in its history. As a brand with a nearly 200-year legacy, Tiffany & Co’s drive for excellence and innovative spirit are what propel the house forward. The Landmark is the ultimate physical representation of our core values of innovation, fine craftsmanship and creative excellence. The Landmark is the perfect synergy of past and future. The building’s exterior was refurbished to pay homage to its iconic original structure, while the interiors introduce the world to a new Tiffany & Co. Upon entering the store, clients will experience ten floors of wonder and a retail experience unlike any other.’

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Tiffany & Co is celebrating the new Tiffany Lock collection with a second collaboration with artist Daniel Arsham, who has created a special edition of 99 sculptures and a limited edition bangle.

The Bronze Eroded Tiffany Padlock sculpture nods to Tiffany & Co’s history, with the jewellery house’s sales of functional padlocks dating from the late 19th century. It was a motif soon assimilated into designs from key rings, money clips and brooches to today’s new Tiffany Lock collection.

Tiffany Lock bracelets

In the sculpture, Arsham nods both to this heritage and the aesthetic of his Future Relics series, which rethinks today’s objects as items of historical note (his recent collaboration with Rimowa placed an ‘eroded’ turntable inside a suitcase). Here, the eroded bronze sculptures, treated with a hand-applied patina, intertwine references both to Tiffany & Co’s distinctive blue hue and the natural erosion that comes with time. Inside, a concealed Tiffany & Co x Arsham Studio Lock bangle set with diamonds and tsavorites nods to the vivid green first seen in Tiffany & Co creations in 1974.

The new piece builds on this year’s jewellery collection, Tiffany Lock, itself an elegant symbol of functional design. Four new styles in 18ct yellow and rose gold feature a clasp with a swivelling mechanism, in an echo of the padlock’s form.

‘The collection was designed with the idea of re-envisioning the padlock – a product Tiffany had offered prior to the 1950s. We transformed it into a symbol of unbreakable bonds and inclusivity with the spirit of  “No Rules. All welcome”.  Tiffany Lock is meant for everyone,’ says Alexandre Arnault, executive vice president, product and communications at Tiffany & Co. ‘Taking influence from the padlock, the mechanism behind Lock echoes its functionality and was specifically designed by our Tiffany Jewelry Design and Innovation Workshop. The clasp opens and closes when the U-bar is pulled from the notch area, which activates the spring inside the bracelet.’  

The new design stays faithful to Tiffany & Co’s distinctive chic minimalism. Adds Arnault: ‘Our designs are rooted in balancing our heritage with modernity and the new Tiffany Lock bangles are a great example of this approach.’

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When it comes to jewellery brands and NFTs, humour is key. A knowing nod to alternative reality is the best entrance something very – well – tangible can make into the metaverse. And so it is for Tiffany & Co, which has sidestepped NFTs entirely and gone straight to the NFTiff – and why not?

Tiffany & Co is putting the question of what people want from its NFTiff directly to its customers, who are invited to bring their CryptoPunks to real, jewelled life. CryptoPunks – the pixel art images that can be personalised – may usually reside in cyberspace, but some of the luckiest can now be transported straight onto a Tiffany & Co pendant.

NFTiff: Tiffany & Co CryptoPunk pendants

The jewellery brand has partnered with blockchain infrastructure company Chain to make this a reality, with both brands working together on the technology. From this month, CryptoPunk holders will be able to purchase the NFTiff pass, and will then have the opportunity to create the custom Tiffany & Co pendant. The resulting piece, inspired by the owner’s CryptoPunk, will be accompanied by a digital render of the pendant as an NFT and a certificate of authenticity.

‘We are incredibly excited to announce the debut of NFTiff, bringing our clients the rare opportunity to turn CryptoPunks into custom Tiffany & Co jewellery designs through a fully digital experience,’ says Alexandre Arnault, Tiffany & Co. executive vice president, product and communication.

Jewellery designers will seek to match the characteristics and colours of the CryptoPunks in a multitude of gemstones, diamonds and enamel. Only 250 rose and yellow gold pendants will be created.

‘As a CryptoPunks holder, I saw a partnership with Tiffany & Co as a way to make NFTs accessible to new collectors as well as strengthen the existing community that has embraced the art,’ says Deepak Thapliyal, Chain chief executive officer. ‘Tiffany’s vision and Chain’s technologies are the perfect combination to produce a beautiful product and a secure online experience.’

INFORMATION

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Tiffany & Co is taking a deep-dive into a legendary history in a new exhibition opening in June 2022 at London’s Saatchi Gallery. ‘Vision & Virtuosity’ marks 150 years since the New York jeweller arrived in London with a meander through almost two centuries of history divided into seven parts, considering everything from the house’s high jewellery to the well-known popular cultural references.

The exhibition begins with an exploration into the history of the window displays at the flagship Fifth Avenue store, which have sparked the public’s imagination since they began to appear in 1955 under artistic director Gene Moore. Under his tenure, the windows became art installations, with humorous designs bringing a previously unseen irreverence to jewellery displays. This wit also characterises the exhibition’s second chapter, which considers how Tiffany & Co became a ubiquitous presence in everyday culture, taking in everything from the distinctive blue of the jewellery boxes to the brand’s role in film and art. The most iconic movie moment, Breakfast at Tiffany’s, has its own chapter, featuring memorabilia including Audrey Hepburn’s Givenchy black dress and her script, complete with her notes.

High jewellery takes centre stage later on, with an exploration into the fantastical creations of the Blue Book, the mail order catalogue of rare high jewellery that made its debut in 1845. Exceptional pieces include those by respected designer Jean Schlumberger.

Tiffany & Co’s diamond expertise forms the subject of subsequent chapters. ‘The Diamonds chapter is where you will find my favourite piece in the exhibition, the reimagined World’s Fair necklace set with the 80.33ct Empire Diamond,’ says Vicky Reynolds, chief gemologist at Tiffany & Co. ‘It is nothing short of spectacular. The Empire Diamond is, in a way, a modern expression of a legacy that began with the Tiffany Diamond in 1878. It’s this relentless pursuit of the world’s finest diamonds that underscores everything we do at Tiffany.’

It is a skill set encapsulated in the engagement ring designs, part of a history that began with the Tiffany Setting and continues to the present day with the unveiling last year of the Charles Tiffany Setting. These more modern pieces sit alongside 19th-century jewels on display including a diamond brooch dating from 1855 and created by Frères Bapst, the French court jeweller, for Empress Eugénie of France, and the legendary Tiffany Diamond, one of the most famous yellow diamonds in the world, discovered in 1877 and purchased by founder Charles Lewis Tiffany a year later.

‘“Vision & Virtuosity” tells the extraordinary story of one of the oldest luxury jewellers, through its nearly 200-year history of pioneering creativity, legendary craftsmanship and sourcing of the world’s most extraordinary diamonds and gemstones,’ adds Anthony Ledru, president and chief executive officer at Tiffany & Co. ‘This exhibition perfectly captures our long-standing heritage in bridging tradition and modernity. We are thrilled to share the world of Tiffany & Co and our unique high jewellery style with London.’

INFORMATION

‘Vision & Virtuosity’ is at the Saatchi Gallery from 10 June – 19 August 2022. Complementary tickets are available from 2 May through the Tiffany & Co exhibition app. Download on the iOS App Store or on the Google Play App Store

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Bulgari: The rectangular form of baguette-cut diamonds presents the gemsetter with a graphic tool, here adding depth to Bulgari’s white-diamond spirals and figurative definition to the ‘Serpenti’ brooch. Pictured, ‘The Magnificent Inspirations’ brooch (far left) in platinum with 60 round brilliant- (29.28ct) and tapered baguette-cut diamonds (7.02ct); the ‘Magnificent Inspirations Serpenti’ brooch (top) in white gold, with baguette- and tapered cut diamonds (6.92ct) and standout square- (2.01ct) and pear-cut diamonds, both by Bulgari.

De Beers: Baguette-cut diamond spokes form an abstract framework for De Beers’ diamond medallion. Pictured, brooch (bottom), detachable from the ‘Elizabeth Tower’ necklace, in white gold with 356 diamonds in four cuts – round, princess, baguette, pear – including the central round brilliant (3.03ct), by De Beers. Jacket, by Christian Wijnants.

Fashion: Jason Hughes. Watches & Jewellery director: Caragh McKay

The brooch as a jewel form has been somewhat undervalued in recent years. Commonly perceived as being out of sync with contemporary tastes, its often-baroque nature is often dismissed as being too narrative rich for simpler, cleaner tastes. But brooches are best viewed beyond fashion, in high jewellery terms, as three-dimensional sculptures that push expectations of the materials used. Unlike like rings or earrings, they are not restricted to a particular part of the body – brooches allow designers and makers broader artistic scope. Toying with scale, perspective and traditional notions, as our story (first published in Wallpaper’s October 2016 issue) shows, when designed and crafted at this level, the brooch can become a powerful art object in its own right.

Harry Winston: A spray of knife-set diamonds forms this meditation on two classic stone cuts – round- brilliant and pear. ‘Cascading Drop’ brooch in platinum with 169 round brilliant and 16 pear-shape diamonds (totalling 35.21ct), by Harry Winston. Dress, by Boss

Tiffany & Co: Legendary Tiffany jewellery designer Jean Schlumberger was drawn to the irregularities of natural forms, slight ugliness being a necessary 
foil for an overtly romantic outcome. In turn, their intricate twists and turns allow gemsetters to display their own talents, as with 
this re-edition of a 1950s Schlumberger brooch. ‘Jean Schlumberger Guadeloupe’ brooch (top), from the 2016 Masterpieces collection, in 18ct gold with 79 round pink spinels (11.21ct) and eight round spessartites (1.37ct), by Tiffany & Co.

Cindy Chao: The freedom to express 
her sculptor’s instincts 
in various jewelled forms 
makes brooches the standout design in each Chao collection. Her 
fine art approach manifests 
in the ‘Rose Petals’ brooch, created in four parts. ‘Rose Petals’ brooch in silver and 18ct yellow gold (only two pieces shown), with central oval-cut diamonds (1.51ct and 2.05ct) and various cuts totalling 48.12ct, by Cindy Chao. Jacket, by Cédric Charlier

Chaumet: a pear-cut exclamation point highlights the vivacious character of Chaumet’s summer wheatsheaf. Its elegant nature is distinguished by exquisite craftsmanship. La Nature de Chaumet ‘Offrandes d’Été’ brooch (on collar) in white gold and brilliant-cut diamonds, with 2.21ct pear drop.

Dior Joaillerie: Interior details from the Château de Versailles are translated into tangled, sculpted jewels shimmering with sizeable velvet-hued stones. Designing the pieces as if viewed by candlelight led designer Victoire de Castellane to consider alternative materials, such as blackened silver.
Dior à Versailles ‘Salon de Diane’ brooch (left) in white, yellow and pink gold, and darkened silver, with 154 round- (6.21ct) and three pear-cut diamonds (1.51ct; 1.01ct; 0.70ct) and pear-cut emerald (2.18ct), by Dior Joaillerie.

Piaget: the watchmaker-jeweller’s distinct house engraving techniques add a lush, organic feel to this fan of red-gold palm leaves, pinched artfully together with a 2.51ct green tourmaline baguette.
Brooch (right), detachable from The Sunny Side of Life ‘Golden Palm’ necklace, in 18ct red gold with green tourmaline baguette (2.51ct), and 60 white diamonds (15ct), by Piaget. Cape; coat (worn underneath), both by Agnona

Suzanne Syz: Her pop art background and craftsman’s approach are
 the fundamentals in Suzanne Syz’s postmodern creations, 
as this grotesque mélange 
of rare materials and cartoon-
like references reveals. ‘Kermit on a Lilypad’ brooch (top) in yellow gold with chrysoprase, spessartite garnets (38.03ct), tsavorites (45.89ct), cabochon rubies (0.66ct) and diamonds (0.29ct), by Suzanne Syz.

Chanel Fine Jewellery: The ancient symbolism 
of wheat inspired Chanel’s 
Les Blés de Chanel collection, which is why 
it is quietly, beautifully rooted in Classicism. Moisson Ensoleillée’
brooch (right) in 18ct white and yellow gold, with 19 marquise-, seven pear- and 168 brilliant-cut diamonds, 209 brilliant-cut yellow sapphires and one central octagonal-cut African yellow sapphire (10.22ct), 
by Chanel. Jacket, by Victoria Beckham

Louis Vuitton: the new era of brooch designs reflects 19th-century tastes, where the highly precious nature of materials did not inhibit scale, nor restrict a brooch to a particular area of the body, as in Louis Vuitton’s ‘lace’ garland of diamonds. ‘Diamonds’ brooch (top) in white gold with diamonds (10.74ct), from the Dentelle de Monogram collection, by Louis Vuitton.

Boucheron: Designer Claire Choisne’s plush peacock plume of diamonds is crafted in two pieces, designed to create the illusion of bird feathers transforming into a flock. ‘Plume de Paon’ brooch (below) in 18ct white gold with one pear-cut diamond (0.08ct) and 499 round brilliants (3.33ct), by Boucheron
Top, £395, by Pringle of Scotland. Skirt, by Marni

Amrapali: Polished perfection is not typical of the traditional Indian fine jewellery aesthetic, where the 
visceral power of stones 
is paramount. This white-gold wreath design of 
non-uniform pearls and tumbled 45.64ct rubellite tourmaline underlines 
the organic Indian style. Brooch in 14ct gold and sterling silver, with 
128 round brilliant-cut diamonds (0.76ct); 
oval-cut emerald (1.15ct) and 14 South Sea pearls (9.46ct), with central tumbled rubellite tourmaline briolette (45.64ct), by Amrapali.

Cartier: The French jewellery house’s creative links to India 
and its particular jewellery design codes are reflected 
in the compelling nature 
of this carved rubellite. ‘Caresse d’Orchidées’ brooch of rubellite tourmaline (414.45ct), 
with one diamond pear- (0.73ct) and 186 round brilliant-cut diamonds (2.08ct), by Cartier. Jacket, by MaxMara

Graff: Gradating tiers of marquise-cut diamonds add a natural sense of movement to Graff’s magnificent ‘Bird of Paradise’ and its everlasting delivery of a 2.02ct pear drop. Pavéd brilliants add volume and texture to its narrative form. ‘Bird of Paradise’ brooch 
in 350 diamonds (27ct), including pavé set, 
pear- and marquise-cut, with central 2.02ct pear, 
by Graff. Top, by Bally

Tiffany & Co has unveiled its new fine jewellery collection, which nods to the architectural heritage of New York in its juxtaposition of curves and angles. The ‘Tiffany Knot’ collection puts the chain link, a motif synonymous with New York, at the heart of pieces that encompass a modern urban sensibility.

The industrial history of the symbol takes on a modern new form when drawn in whorls of gold, nodding to a history that began with the opening of the first Tiffany & Co New York store in 1837. The collection encompasses this heritage in necklaces, rings, pendants, earrings and bracelets, cast in 18ct rose and yellow gold.

Each piece is defined by a distinctive curl, which brings a sleek suppleness to precious metal, for jewellery that circles the body in a fluid loop secured by a coiled knot.

The curves of the loops, when offset by the angles of the knots, become temptingly tactile. Staying faithful to true Tiffany & Co style, this is fine jewellery which can be worn every day.

Tiffany Knot speaks of connection

The knot motif acts as a metaphor for New York’s ability to interlink people and create connections, itself intertwining Tiffany & Co’s graphic design history with contemporary codes. In some pieces, the warmth of the gold is sharpened by a sprinkling of pavé diamonds precisely set to ensure a brilliant refraction of light.

In others, the gold loops that circle the body twice also represent an innovative technicality, becoming a form of concealing the clasp on a fluid diamond hinged bracelet. Without a visible fastening, the bracelet becomes an eternal loop of gleaming gold with no discernible beginning or end.

This collection, the newest since last year’s ‘Tiffany T1’ debut, joins the iconic designs in Tiffany & Co’s archives created by designers including Elsa Peretti and Jean Schlumberger, staying faithful to their classic design codes with a focus on sensual shapes and simple, fluid silhouettes.

INFORMATION

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A renewned sense of stability is returning to wedding season, and while some ceremonial restrictions are in place globally, it's clear that celebration is on the up. Dressed down for so long that you're lost in how to excel in elegance? Here we present our guide to being an impeccably dressed wedding guest, whether rocking up to a city town hall or sitting en plein air in the grounds of a castle.

Nail the dance-all-night accessory

If pandemic dressing has taught us anything, it’s that ease is essential to elegance. Shirk the stilettos in favour of a foot-friendly mid-heel, like Manolo Blahnik's leopard-print Mary-Jane pumps.

Go for gild

Riff on the Roaring Twenties with an outfit oozing ostentation. Enter Balenciaga’s golden chaimail dress, which reflects the lights of a disco ball as you get down on a dancefloor.

Upturn tradition

Turn heads with an androgynous take on wedding wear. Sport sophisticated tailoring and forget the undershirt, like Petar Petrov's subtly oversized suit jacket.

Carry a coveted accessory

Search out a small style to hold all those matrimonial essentials (hand sanitister, lipstick, face mask). The covetable quilted details of Dior's signature ‘Lady Dior’ bags will turn heads as you take your seat at the wedding service.

Turn black tie topsy turvy

Black tie dress code? Opt for a tradition-shifting pristine white tuxedo jacket with a luxurious satin lapel. Avoid red wine and colourful cocktails at all costs.

Mix and match

Sport a statement shoe

Ditch the classic Derby shoe and err away from Oxfords. Turn heads with something a little more sartorial, like Y/Project's square-toed boot with a bold block heel.

Consider no tie

Consider a more ease-fuelled silhouette and say goodbye to the tie. Fendi's sleek, lightly toned tailoring needs nothing else.

Born in Florence, Italy, Peretti was educated in Rome and Switzerland before moving to New York to begin a modelling career in 1968. American designer Giorgio di Sant’Angelo was drawn to the simple jewellery pieces she was beginning to create, and incorporated them into his shows. Inspired by the silver adornments she found at flea markets, Peretti’s clean forms were a tonic at a time when heavily embellished jewellery was the norm. Silver was then an unusual choice for fine jewellery, and the sculptural pieces inspired by the natural world she went on to create for her friend Roy Halston Frowick – flowers, shells, bones – set her apart.

In 1974, Peretti began her tenure at Tiffany & Co, a partnership which endured for the rest of her life. Her statement pieces quickly became iconic silhouettes in jewellery design, with her ubiquitous open heart and bean pendants characteristic of the sensual forms she was celebrated for. Inspired by the empty spaces in Henry Moore’s sculpture, Peretti’s understated aesthetic became her calling card and her collections Mesh, Open Heart, Zodiac, Bean and Bone, in rattan, jade, lacquer and sterling silver, all continue to be bestsellers today. In the 1980s, Peretti branched out to include pieces for the home in her Tiffany collections, with china, crystal and silver all drawn in her distinctive organic forms.

Last year marked the 50th anniversary of the perennially popular bone cuff. Tiffany & Co partnered with Dover Street Market for the occasion, rethinking Peretti’s original design in a gothic-inspired limited-edition collection characterised by an ergonomic sensuality. Her bone cuff joins her other iconic pieces as part of a permanent collection at London’s British Museum, New York’s Metropolitan Museum of Art, Boston’s museum of Fine Arts and Houston’s Museum of Fine Arts.

Elsa Peretti’s tenure at Tiffany & Co ushered in a new era of simplicity in jewellery design. The Italian-born former model’s jewellery career began in the 1970s with sculptural pieces created for friend and fashion designer Halston. She preferred working in silver, then a metal rarely considered special enough for fine jewellery. By eschewing the ornate aesthetic that had hitherto characterised the decade, Peretti brought organic concepts to the forefront. Her translation of the natural creations that inspired her, such as beans, hearts and starfish, utilised empty space, creating clean, uncluttered outlines.

As a child, her curiosity was sparked by visits to the crypt of a 17th century Roman church and Antoni Gaudí’s Casa Mila in Barcelona, and her perennially popular bone cuff was born from these sojourns, the undulating lines of Gaudí’s work later mirrored in the cuff’s contours. Characterised by an ergonomic sensuality, each cuff is designed specifically for either the left or the right wrist in order to better hug its curves. To mark the cuff’s 50th anniversary, Tiffany & Co has partnered with Dover Street Market for a new limited-edition version. Crafted from copper, it features a gothic black finish, a fitting nod to its macabre roots.

INFORMATION

This article originally appeared in the December 2020 issue of Wallpaper* (W*259), at newsstands now or available for free download here

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In recent saesons, menswear designers have favoured single earrings as their accessory of choice. At Alexander McQueen, Sarah Burton opts for an ornate pearl-drop style, cupped in a leafy crystal pavé shell. It harks back to the metrosexual preferences of the Elizabethan era and Sir Walter Raleigh's favoured orb-like pearl, often seen dangling from his left ear in portraits.

Worn with a natural air of insouciance, pearls are a singular choice: Jimi Hendrix was prone to wearing long, beachy strings of them, while messy-haired model Henry Kitcher's signature pearl-drop earring is instantly recognisable during his catwalk turns for the likes of Berluti and Vivienne Westwood.

For a punkish look, we've paired Delfina Delettrez's freshwater droplet 'Seal' earring with a Tiffany stud on the helix. For a subtle take, opt for the sheeny hues of black or grey pearls, as in Dina Kamal's signet ring or HUM's drop earrings. Swap a simple chain for a string of pearls and strip back your styling with sleek monochrome tailoring. It's the contemporary take - raw and rebellious with a Renaissance touch. 

As originally featured in the May 2018 issue of Precious Index

‘I really only like big gems, strong colours, big rings and big jewels. Art was a language spoken around me all the time when I was growing up, so colour is a natural preoccupation, my number one priority. It’s what makes me tick,’ so said Paloma Picasso.

The designer was appointed Tiffany designer in 1980 and has worked for the New York jeweller ever since. This month, she returns to the era she did much to define, casting her chromatic eye across Paloma’s Studio Collection of bold-gem rings and cuffs. The designs shimmer with all the glamour, wit and style of her social circle at the time – Warhol, Saint Laurent and Capote, among it. 

‘The 1980s was such a great time. I was very much part of that New York scene that people were looking at, to see what direction to go in and I wanted my image to portray what I was feeling,' the designer tells us on her recent trip to London. 

‘Someone took a Polaroid of me and my skin looked very white, my eyes, eyebrows and beauty spot very black and my lips very red. The face disappeared and the eyes and lips popped. The Polaroid contrasts made me look fabulous – I had found my look.’

The Tiffany appointment, then, was a shrewd move on all sides. Not least because Picasso came to New York fresh from her home city of Paris. ‘When I got to New York, I was shocked that it was filled with old buildings. I thought the city would be a completely majestic, art deco environment, all big buildings on a small island.’

It was the underside of New York life, the undiscovered landscape, that set her imagination alight, as Picasso connected with the downtown energy of Keith Haring, graffiti art and the grimy neon city lights. Picasso distilled all that she saw and became a pioneer of street art-inspired commercial design. She imagined illegal art as a fine one, creating gold criss-cross or heart motifs in her 1983 ‘Graffiti’ collection. The new collection of graphic rings and cuffs is a deliberate riff on these 1980s designs, with bold paths of emerald-cut stones designed to create nothing less than a powerful presence on the body.

‘There is a dialogue between you and your jewels,’ Picasso says. ‘I created these pieces so that you are able to see the colour as you wear them. But they are also infused with all the other things I discover every day – museum visits, concerts, music, listening to Grace Jones. I've known Grace since the 1980s, and saw her perform at Montreux Jazz Festival last year. She is still so good at being fabulous.’

Today, as a sparkling seam of 1980s cultural references continues to wind its way through a spectrum of creative disciplines, who wouldn’t want a muse as fabulously in tune as Paloma Picasso to lead the way? 

INFORMATION

The Paloma Studio Collection for Tiffany & Co consists of 25 pieces.
For more information, visit the Tiffany & Co website

Throughout his Thin White Duke period, in 1976, David Bowie sported a sliver of white metal on his left wrist. A symbol of refined simplicity, the bracelet marked Bowie’s departure from his ostentatious Ziggy Stardust persona. Today, the idea of pared-black adornment is re-emerging, with a handful of jewellers offering an understated alternative to the rocker look that had dominated contemporary men’s jewellery.

Paris-based label Le Gramme was ahead of the curve. The brand launched in 2012 with a plain silver cuff available in densities of 41, 33, 21, 15 and 7g. ‘We chose an elementary shape and reduced it sympathetically,’ says co-founder Adrien Messié of the mathematical designs, created in a 20-step process.

That process of refinement is central to the methodology of Beirut-based jeweller Dina Kamal, known for her immaculately honed signet rings in silver and white gold. Kamal’s architectural training inspires her approach to the precious metals. ‘My process isn’t about minimalism or modernity, it’s about creating pieces that are the bare minimum of what they can be,’ she says. Boucheron, Tiffany & Co and Cartier also offer clean designs in precious white metals. Cartier’s ‘Juste un Clou’ collection is inspired by the domestic nail. Its designer, Aldo Cipullo, started a new conversation in fine jewellery in the 1970s with his hardware-influenced creations, including the ‘Love’ bracelet, which comes with its own screwdriver.

Alice Walsh launched British jewellery accessories label Alice Made This in 2011 with minimal cufflinks. Her background in product design had informed her industrial style. ‘There was a gap in the market for an aesthic based on true material, authenticity and a clean shape,’ she explains. Her solid silver ‘Bancroft M8’ cuff is cast in Birmingham’s famed jewellery quarter. ‘The fact that you can squeeze or open it to fit makes it a functional piece as much as a decadent one,’ she says.

As originally featured in the Precious Index, our new Watches and Jewellery supplement (see W*218)

INFORMATION

For more information, visit the Le Gramme website; Dina Kamal website; Boucheron website; Tiffany & Co website; Cartier website and Alice Made This website

I didn’t know then what I was going to be, but I was so afraid to be compared to my parents [Pablo Picasso and Françoise Gilot], it became an obsession: whatever I did there would be no aesthetic links to what they did, so that people could see my work as something of its own. This was a springboard for me to be my best. I knew I didn’t have room to make errors, because everybody would be pointing and looking at the faults.

It was while I was living in Venice as a teenager that I started having ideas about jewellery design. It was the 1960s and women wore crazy jewellery. You would say hello and then, ‘Aah!’ – you would be attacked by a brooch or a necklace. I used to think, this is so wrong, jewellery should be something that feels good on the skin. Now, of course, I know the skill it takes to engineer jewellery to sit with the body.

My first Venice designs were shooting stars – colourful custom pieces that I manufactured myself. I took them to Paris to try to sell them. After the first meeting, they said ‘put a price on this’, but I had no idea how. That evening, I was at dinner at La Coupole in Montparnasse and Yves Saint Laurent was there. It shows how little I knew him at the time, because I thought, ‘Oh, I can ask Yves!’ I went over to his table and, after we’d had a chat, I said, ‘I need to put a price on my jewellery; I don’t know what to do.’ Yves said, ‘Come to the couture house tomorrow and we’ll talk about it.’

Of course, we never discussed prices because that is something Yves never cared about. But when he saw the drawings, he said, ‘They are really wonderful, I’d like you to come and work for me.’ That’s how my first designs came to be in Yves Saint Laurent boutiques.

‘Paloma’s Melody’ pendant in gold; nine-band bangle in sterling silver, both as before; ‘Paloma’s Groove’ rings in gold, £1,975; ‘Paloma’s Melody’ five-band bangle in gold; ‘Paloma’s Sugar Stacks’ earrings in gold and diamonds; ‘Paloma’s Melody’ five-band bangle in gold and diamonds; ‘Paloma Picasso’ rubellite ring in gold, all as before, all for Tiffany & Co

By that time, I had become friendly with John Loring, a painter and writer. John knew I designed jewellery – I had even designed a piece for him. He was living in New York and one day he called to tell me some news. ‘The people from Tiffany are looking for a design director and they have contacted me. What do you think?’ he said. I told him it sounded fabulous. This was the late 1970s and I was in New York quite a bit. Just after John got the job, he told me Tiffany was looking for a new jewellery designer and I should apply. Tiffany was the epitome of America to me – the Eiffel Tower of New York. To be part of that was so liberating.

In New York, people judged me on what I created rather than my name. There was not much colour in jewellery design in the 1980s, so when I created these big pieces in semi-precious stones, people were surprised. My designs were bold, with a certain simplicity and strength, and a strong point of view.

Today feels like a new era for me in design. This year I am relaunching an existing Tiffany collection, the ‘Melody’, in a new guise, plus the new ‘Groove’ design. There is a sensuality to my work and the circle has always been a primary shape. I like its perfection, its voluptuousness. With the new collection I have also been able to add pavé, in diamonds and black spinel, which was not something we were able to do before, technically. We did try to add diamonds ten years ago, but the results were not good. Knowing we can now do a perfect job made me interested in revisiting ‘Melody’.

‘Groove’ has been a more personal process. I wanted to design a wedding band for my husband. He felt rings didn’t look good on his fingers, but I told him, ‘I’m going to design one that I think you would want to wear.’ I made these grooves, like tiny circles. There are eight grooves, which stand for infinity and a long-standing relationship – and the wedding band can stand up on its own. Isn’t that great?

I didn’t realise it was going to stand up, so it was a happy accident. But when you are designing with the right thing in your mind, you get these little surprises, these questions and answers as you go along. That’s what makes me happy as a designer: that I am still learning, that I surprise myself. It keeps you alive.

As originally featured in the Precious Index, our new watches and jewellery supplement (see W*218)

INFORMATION

For more information, visit the Tiffany & Co website

We may all feel familiar with the legacy of Tiffany & Co., but beyond the iconic shop windows on Fifth Avenue in New York, recognisable engagement rings and covetable robin egg blue boxes with white ribbon is the jewellery house’s Blue Book collection – a stunning annual collection of one-of-a-kind jewellery creations, just waiting to be discovered and treasured.

As the brand’s greatest showcase, Tiffany & Co.’s Blue Book collection places the house’s craftsmanship, access and history at the fore. Created by design director Francesca Amfitheatrof, the pieces incorporate the finest and most vibrant gems for truly extraordinary results. Viewed by appointment and only available to Tiffany & Co.’s most prized customers, the collection of unique pieces are highly sought after for good reason.

For 2016, the collection continues to explore themes in nature. Titled ‘The Art of Transformation’, Amfitheatrof’s second Blue Book collection builds upon the underwater motifs she explored in her first.

‘In this collection, we are taking you on a journey through nature,’ she says. ‘From the deep ocean, we float to the edge of the water where stillness reigns. In this world, cocooned in calm, transformation occurs. Life changes, and nature reaches to the surface and takes its first breath of air. It’s a story about evolution and all that is possible in silence and peace, where nature plays its magic and creates the mysteries of the world we live in.’

To this end, stunning pieces that resemble seaweed glisten underwater, a pair of starfish cuffs and even a pearl octopus broach festooned with diamonds and blue sapphires speak to Tiffany & Co.’s age-old tradition of crafting veritable art pieces in gem form. There are plenty of more abstract pieces to appreciate too, including a pendant featuring a 22.11 carat yellow sapphire and white diamonds reminiscent of the glowing sun surrounded by swirling clouds, and an incredibly geometric diamond bracelet made from round, pear-shaped, emerald-cut, oval, marquise, square-cut and trilliant diamonds that are invisibly set to mimic the movement of rivers rushing into the sea.

Of course, there’s no beating the diamonds. Consistently the most sought-after pieces in each Blue Book collection, this year’s offerings include several diamond pendant necklaces boasting otherworldly, 40 carat stones. The effortless mingling of different cut stones not only speaks to the skills of Tiffany’s artisans, but articulates a contemporary design ethos as well.

INFORMATION

Tiffany & Co’s Blue Book collection begins travelling in April 2016. For more details, visit the website

It takes chutzpah to unravel the classic codes that your brand is built on and reform them as something new. Especially if you happen to be Tiffany & Co, a name synonymous with a box in a colour that no-one else can replicate – the famous bird's-egg blue has its own Pantone reference (PMS number 1837). 

But the New York fine jeweller's installation 'Fifth & 57th' – currently on show at the Old Selfridges Hotel, a dilapidated, industrial space to the rear of the eponymous London department store – does just that. Naturally, the famed Tiffany box is the pivot around which this temporary immersive exhibition revolves but in a delightfully witty move, it has been stripped of the colour that is one of the most distinguishable calling cards of all time. 

Instead, towers of hundreds of pristine-white architectural square boxes represent New York’s Deco cityscape. This orderly melange forms a backdrop for a brilliantly noisy video installation capturing the flavour of a typical Fifth Avenue day, from sunrise to sunset, played on a 13-minute loop. So, rather than the blue box representing the glamour of New York, the city itself becomes a reflection of the famed luxury house that was established on the corner of Fifth & 57th in 1837 (hence that bespoke Pantone reference).

This smidgeon of subversive humour goes a long way to making 'Fifth & 57th' a richer visitor experience, providing the element of surprise that can do much to bring over 100 years of heritage to life. But of course, this is not just any history, this is New York history – Tiffany style. And so all this abstract thinking must be tempered by the sweetness of romance.

Hence, a stroll down the 'Avenue' is designed to reassure visitors with classic notions of NYC: a pretzel and coffee cart; a secluded bench in Central Park, where a smitten lover might pop the question under the boughs of a perfectly pink magnolia; Charlie's Bar – a speakeasy humming with low chatter, laughter and smoky jazz.

The house's formidable design heritage is also celebrated. A master engraver is installed in his studio on site, referencing Tiffany's reputation for decorative silver and expert craft techniques. And a homage to the genius of the late, great designer Gene Moore – who, for 40 years (until 1994) beguiled millions of passers-by to take a closer look into Tiffany's windows by way of his beautifully intriguing displays – is an unexpected delight.

'Fifth & 57th' is in keeping with the current trend for luxury houses to bring their heritage to life but none has done it with quite so much humour and sass as Tiffany & Co has here. Now we all know what is really inside that Little Blue Box.

ADDRESS

Old Selfridges Hotel
1 Orchard Street
London, W1H 6HQ

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Continuing a stealthy turnaround in its design vision, this month Tiffany & Co. announces its intention to put watch-making centre stage, with the launch of a new collection of New York-designed timepieces powered by Swiss movements.

Though overshadowed by its standing as a jeweller and producer of ever-popular designs by visionaries such as Jean Schlumberger and Elsa Peretti, Tiffany's understanding of the business of watch-making is impressive, with roots dating back to its 19th century Geneva manufacture. That means that when it comes to horological prowess, it knows more than most luxury houses about how to build a watch from the base-plate up.

Its John Loring-designed timepieces from the 1980s and 1990s include, arguably, some of the most visionary watch designs of the modern era. Loring, Tiffany & Co's current design director emeritus, helmed the design department for 30 years from 1979 to 2009. Key models of his creative tenure include the Atlas watch, notable for its relief-style Roman numerals that start on the dial then stretch out across the bezel.

Decades before fashion cottoned on to the chic watch as a luxury accessory, Loring had sensed a desire for less formal designs, creating a sports-luxe horological offering for women he knew, Paloma Picasso among them.

The new Tiffany CT60 collection taps into a more classic period of the New York house's watch-making past. The key model, directly inspired by a Tiffany watch presented to Franklin D. Roosevelt in 1945, is handsome, if a little too perfectly so. Its silver powder numerals and traditional Swiss finishes - sunray dial, Côtes de Genève, colimaçon and perlage engraving - may be a tad too "vintage" but they serve to remind the wearer of a certain horological authority.

The Tiffany East West is the real star of the new collection. The 1940s feel is there but, with creative input and jewellery thinking from Tiffany's current design director, Francesca Amfitheatrof, it harks back to the visionary Loring days.

Rather than read the time vertically, you are directed to read it across the wrist - as if the watch were an identity bracelet. The fact that it suits anybody bodes well for the new generation of Tiffany & Co. watch design.

We like nothing better than to be invited to something destined to brighten up winter days. So, when Tiffany & Co told us that the famed Tiffany Diamond was currently on show at their flagship Fifth Avenue New York store, we skipped off to see it, posthaste.

It's a little-known fact that the brand that brought us such sculptural pieces as Elsa Peretti's bone cuff and Paloma Picasso's Graffiti bracelets also has an esteemed history of sourcing some of the finest coloured stones ever found.

The Tiffany Diamond, a stonking raw yellow gem of over 287 carats was discovered in Africa in 1877 and promptly acquired by Charles Lewis Tiffany, who maximised its brilliance by having it cut to a single diamond of 128.54 carats. Since then it has been constantly on the move, whether at world fairs or in museums but home - the Fifth Avenue Tiffany & Co store - is where it always comes back to.

As an added treat, the Tiffany Salon has a few of the brand's other fancy diamond pieces on show, on an appointment basis, including a pave ring with a 6.07 carat fancy pink diamond and another with a whopping 15-carat fancy vivid yellow.

The Salon, a fairly recent addition to the Fifth Avenue flagship, is worth the detour alone. Robert A.M. Stern Architects, designers of the 1920s-inspired 15 Central Park West building, created the space. As such it reflects all the glamour and grandeur of apartments of the New York Art Deco era that Tiffany & Co is an intrinsic part of. From the smoked-oak and shagreen desk to the satinwood chairs and soft blue, grey and silvery palette, it also doubles up as a suitably sumptuous viewing space.

So if you happen to be in New York over the next couple of weeks, it's well worth dropping in. Add to this the fact that some of these diamonds on show are of a particularly sizeable nature and you get the point as to why Tiffany & Co is so keen to show them off.