The Pearl Prophecy

Can this Van Cleef & Arpels pearl and diamond brooch, dating from about 1930, reveal the entirety of Art Deco's secrets?

Van Cleef & Arpels

Among the terminology linked to the design era between the two World Wars—geometric, audacious, industrial, glamorous—the term poignant is hardly utilized. However, it effectively elucidates the lasting impact and fascination with Art Deco. Inezita Gay-Eckel of Van Cleef & Arpels L’Ecole states, “This era possesses an innocence, characterized by a naive optimism in modernity and the conviction that it would ultimately rescue humanity.”

She cites a poster from the 1925 show created by Charles Loupot, the contest winner tasked with designing an image for the historical event. A factory emits smoke into the atmosphere, which subsequently transforms into a rose. Beauty arises from industry. The poster exemplifies the sentiment that progress was imminent, indicating a rapid transition towards an exhilarating future. World War I was termed “the war to end all wars.” The Art Deco exhibit occurred a few years later as a celebration, having been initially set at an earlier date; nonetheless, the delay did not diminish the enthusiasm. Gay-Eckel argues that “optimism” is a reason this jewelry possesses an enduring quality. We may adopt a more pragmatic approach: It is indeed exceptional design. It is markedly distinct. It remains permissible for all to wear it now. It was designed for contemporary women who, through their short hairstyles, cigarettes, corsetless skirts, and exposed arms, were redefining modernity in their unique manner. Glamour is not invariably synonymous with resistance; yet, in this era, it undoubtedly was.

In her Art Deco seminars at L’Ecole, Gay-Eckel opens the session by presenting the Loupot poster, subsequently directing attention to a curated assortment of jewelry from that era. One is a pin crafted by a member of the Citroën family, proprietors of the automobile company that financed the illumination of the Eiffel Tower during the Art Deco exposition. “The pin represents a car, while simultaneously spelling the name Citroën, and it is entirely composed of paste,” she states. “Nothing is authentic within it.” This artifact signifies the era by illustrating the ascendance of machinery in both cultural support and creative inspiration, while its intrinsic lack of value underscores the prevailing values of the period. Design was eager, prepared, and intended to transform any item, including a promotional pin, into an object of fascination. The red lacquered Jean Dunand necklaces, popularized by the muse Josephine Baker, exemplify a color palette and lacquerwork that encapsulate the artistic richness and exchange of ideas among nations during a period of heightened travel and global attraction to Paris.

Additionally, Gay-Eckel posits that a pearl and diamond brooch by Van Cleef & Arpels, about 1930, elucidates nearly the entirety of Art Deco. The commitment to geometry and design is one reason Art Deco endures perpetually. Additionally, there is the element of astonishment, she states. “Observe the ample space.” Due to advancements in platinum technology, it is possible to vacate space negatively. It possesses the ability to respire. Observe the novel technique of baguette-cut diamonds. In the 1920s, the baguette frequently lost 70 percent of its weight to get the desired optical illusion. Can we conceive of anyone relinquishing such a substantial quantity of diamonds merely to achieve a specific aesthetic?