The most beautiful French jewellery design
Rich materials transformed with French jewellery design
Drawing of a brooch, Leon Hatot ca. 1920, Graphite, ink and gouache on tracing paper
French jewellery design from 1770 to 1970
An exhibition exploring two centuries of French jewellery design, from 1770 to 1970 showcases the relationship between artistic movements, societal shifts, and the work of designers who transformed materials into wearable art.
Drawing of a ‘cotoneaster lacteus’ diadem, Rene Laliquem, ca. 1900, Graphite, ink and gouache on Rives BFK paper
The University Museum and Art Gallery at the University of Hong Kong, in collaboration with L’Ecole Asia Pacific, presents a collection that focuses on the creation process within the historical context of French jewellery design.
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For anyone with an appreciation for beauty and craftsmanship, this exhibition offers a historic view of the innovation and stylistic evolution of haute joaillerie.
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Before exploring the creations, it is crucial to understand a key, often unseen, design process element: gouache paper.
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This specialised paper, prepared to receive a specific type of opaque watercolour paint known as gouache, became the canvas for gouache renderings or simply gouaches, and stood as the core of French jewellery design from the eighteenth century onwards.
Drawing of a ‘hydrangea’ diadem, Rene Laliquem, ca. 1900m Graphite, ink and gouache on Rives BFK paper
As Jacko Chan, Education Coordinator at L’Ecole Asia Pacific, emphasises, “thousands of jewellery pieces… everything about jewellery starts from the design on gouache paper.”
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Gouache paint, a thick opaque watercolour, gave designers control over colour, texture, and light.
Applied to gouache paper, it allowed for the creation of detailed representations of future jewels.
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These gouaches were not just drawings; they were miniature works of art, capturing how light played on facets, the subtle nuances of gemstone colours, and the textures of gold and platinum.
Unique art works
However, they are susceptible to light damage, so the museum blocked the skylight to protect them during this exhibition.
In the late eighteenth century, full-colour gouache allowed customers to see a one-to-one scale illustration of potential purchases.
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For designers, the gouaches served as a tool for presenting ideas, securing approval, and functional engineering diagrams, complete with side views, thickness and handwritten notes detailing the carat of stones and instructions for making the piece and calculating the cost.
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When preserved, gouaches also recorded commissions and provided insight into design houses’ steps and past technologies.
Drawing of a two pendants with chain, Bredillard-Hatot Workshop, ca. 1912, Gouache on cardboard
However, these detailed drawings were not always valued; before the 1980s, gouaches were often seen as preliminary production steps.
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They were frequently discarded once the final piece of jewellery was made.
Rare drawings
This historical lack of appreciation for the design process means that surviving gouache drawings are rare.
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The choice of paper for gouache was significant.
Drawing of a dancer clip, ca. 1940m Graphite, ink and gouache on tracing paper, technical annotations
The exhibition highlights various types used, including Common Tracing Paper, often of a brownish colour, which was frequently employed due to technological limitations; its tint helped showcase coloured gemstones.
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René Lalique famously preferred a yellowish-brown vegetal paper, an iconic part of his style.
Drawing of an ‘acorn’ diadem, Rene Lalique, ca. 1900, Graphite, ink and gouache on Rives BFK paper
Treated with linseed oil, this paper offered longevity and evoked a dream-like feeling.
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The Hatot workshop favoured Hard Card Paper for its durability and longevity.
For diamonds, designers used Black Paper, painted black for contrast, which enhanced their brilliance.
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The period from 1770 to 1970 saw major shifts in European society, politics, and art, each leaving a distinct mark on French jewellery design, profoundly shaped by historical events and technological advancements.
Dancer clip, Van Cleef & Arpels, ca. 1948, Platinum, yellow gold, white gold, rose gold, rubies, sapphires and diamonds
The late eighteenth century saw the shift from Rococo to Neoclassicism, influenced by archaeological discoveries.
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This era emphasised symmetry and simplicity in jewellery.
Drawing of a pendants with chain, Bredillard-Hatot Workshop. ca. 1911, Graphite, ink and gouache on cardboard
The nineteenth century introduced Romanticism, leading to more expressive jewellery with natural motifs, like flowers and animals.
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Innovations in manufacturing techniques, spurred by a burgeoning middle class, meant increased demand and diverse styles during the Victorian era, including revivals of historical aesthetics.
Art Deco Vanity Case, Lacloche Freres. ca. 1927, 18 karat yellow gold, jadeite, enamel, and diamonds
The late nineteenth and early twentieth centuries were a golden age, marked by the opulent Belle Époque (Beautiful Era) and the transformative Art Nouveau movement.
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Art Nouveau, reacting against industrialisation, championed organic forms, sinuous lines, and symbolic motifs from nature.
Art Nouveau design
It emphasised craftsmanship and unconventional materials.
Jacko Chan highlighted a Léon Hatot peacock design as an example of the popularity of flowers and animals as motifs during this time, symbolising freedom and new beginnings.
Preparatory drawings for rings, Unsigned, 1966, Graphite, on paper
Following World War I, the 1920s brought a desire for novelty and precision.
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Art Deco emerged as the dominant style, characterised by clean lines, sharp angles, bold colours, and a celebration of modern machinery.
Preparatory drawings for jewellery pieces, Unsigned, 1966, Graphite on paper
Global influences were significant; the exhibition showcases Eastern inspiration, featuring pieces with Chinese dragon styles and Japanese-inspired vanity boxes adorned with flowers.
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Platinum, diamonds, sapphires, rubies, and emeralds were used to create striking, symmetrical patterns.
Citrine parure with necklace Boucheron, ca. 1953, 18 karat with citrines
This era saw a shift towards functional designs, reflecting changing societal roles and new dynamism.
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The period following World War II brought further changes. While classic styles continued, there was growing interest in abstract forms and textured metals.
Drawing of bird clip. 1960, Graphite, ink and gouache on paper
The focus shifted towards craftsmanship and unique expression.
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Designers sought to incorporate themes of hope and freedom into their work, looking beyond the nightmare of the war.
Bird gouache illustration, Unsigned ca. 1950
Examples include dancing motifs and ballerina figures in designs from the 1960s, symbolising a release from wartime constraints.
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The exhibition provides a narrative of artistic evolution of French jewellery design.
Island bird clip, Van Cleef & Arpels 1963, Platinum, yellow gold, sapphires, ruby, emeralds and diamonds
Featuring 100 gouaches and ten pieces of jewels, it highlights how French jewellery design has led the world from the Neoclassical period to Art Nouveau and Art Deco.
The role of gouache paper in bringing these visions to life and preserving French jewellery design history helps us better understand this art form.
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It is a testament to the enduring power of design, intertwined with history, culture, and the human desire for beauty.
Text and photos Martin Wray
