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Interviews: Justine Cullen. Words: Genevra Leek. Photography: Getty Imagesjyy
Alhambras – mixed and matched her lapis
lazuli with her coral.” Individuality was key.
The bold combinations of materials like onyx, coral, tiger’s
eye and turquoise meant Alhambra was perfectly in keeping
with fashion movements that saw designers push the boundaries
of colour, form and function. It was a time of unprecedented
experimentation in dress and Yves Saint Laurent set the agenda
with his newly introduced prêt-à-porter line called Rive Gauche.
A card-carrying member of the Parisian ’70s jet set, he was
a fixture at clubs like Studio 54 and Régine’s, alongside
Karl Lagerfeld and fashion muse Loulou de la Falaise.
His influence single-handedly kickstarted kaftan dressing,
which felt at once fluid and free, feminine and masculine, and
just the thing to accessorise with handfuls of rings, armfuls of
bangles and chain bracelets, and pendants and necklaces
layered with studied abandon. Jewellery was a gleaming
vehicle for personal expression of enlightened and worldy
women such as actress Romy Schneider (who notably wore an
Alhambra necklace in Michel Deville’s 1974 film Le Mouton
Enragé) and Princess Grace of Monaco, whose personal
collection included yellow gold, coral, malachite, crystal and
tortoiseshell, which she freely combined.
The allure of the exotic was at fever pitch in the ‘70s, with
a desire for clothes and trinkets from any culture or continent.
Foulkes notes that the Arpels family was one of the most
cosmopolitan and well-travelled dynasties in the history of
20th-century jewellery, giving them the edge in terms of satisfying
a demand for things from far-flung “elsewhere”. Tireless jewel
hunters, the Arpels brothers travelled to India, Mexico, Panama,
Colombia, the Yucatán and Venezuela to source rare jewels
and glean inspiration. From numerous voyages they took during
the ‘60s and ‘70s came the names of various pieces such as the
Osaka pendant, Dodécanèse necklace, Ibiza long necklace,amed after the famous
n and resembling itsd collective uprising over
g of 1968’s revolution in
g for Van Cleef & Arpels
collection that grew to
s, earrings, watches and
white gold, and natural
wood to pavé diamonds,
f clover motif. “Alhambra
ng,” says Foulkes. “It is
orever developing, and
to a half-century of
p p , anchored by deep
cultural roots.”
And there’s that no small matter of luck, which the
house maintains has been key to its ongoing success. Indeed,
when there’s little to cling to in the way of certainty or logic, placing
our faith in the power of something beyond our comprehension
seem ever more appealing. “I’ve been honestly wearing
Alhambra for ages. It’s my lucky charm,” says Sonia Sieff, daughter
of photographer Jean Loup Sieff and French socialite Barbara Rix,
and a talented photographer and fashion filmmaker in her own
right. “[There is] good luck or bad luck, but there’s something
about it that [means] you’re not totally responsible – it happens.
There’s something about miracles, and about magic.”
An ex-boyfriend gave Sieff her first Van Cleef piece but nowadays,
if she wants a special piece, she saves up and buys it for herself.
For the 50th anniversary of Alhambra, Van Cleef called on
Sieff, among other artists and creatives, to create a series of
images portraying the collection in a contemporary light. The
house is also releasing new creations to draw in modern-day
Gettys, Hardys and Kellys looking for a touch of luxe with louche
appeal. Think grey mother-of pearl, pink gold and diamonds, or
black onyx combined with white gold and diamonds, and others
with rock crystal set in gold; an homage to the stones that have
embellished the collection throughout its lifespan. Sieff’s self-
portraits – nothing but bare skin, tousled hair, bra strap and
simple understated pendant – perfectly encapsulates why
Alhambra is more relevant than ever. “In France we have
another era, a different one,” says Sieff. “It’s very young. But of
course it brings more hope.” EWe used a lot of ornamental stones, a lot of
organic stones. Our clients mixed and
matched everything, there was no border
between day jewellery and evening
jewellery. My mother–she had a fewBahamas bracelet and Alhambra, n
Moorish palace in southern Spai
architecturaldetail.
With the new wave offeminism and
conservative politics, there’s something
the air today. So it’s serendipitous timin
tocelebrate 50 years of the iconic
include necklaces, bracelets,pendants
cufflinks –crafted in pink, yellow and
materials from preciousw
all inspired by the four-leaf
is that extremelyrarethi
instantly recognisable, fo
simultaneously, thanks
uninterrupted production“ALHAMBRA IS
ANCHORED BY
DEEP CULTURAL
ROOTS”Pure Alhambra long
necklace, $23,500,
VAN CLEEF & ARPELS,
1800 983 228’70S ICONS:
Yves Saint Laurent with
muses Loulou de la Falaise
and Betty Catroux (right);
Ira von Fürstenberg and
Karl Lagerfeld (below)Bianca and Mick Jagger at Studio 54