Τiara in 18K white gold, set with one 0.93-carat brilliant-cut D

VVS2 diamond, 2 brilliant-cut D VVS1 diamonds (0.73 and 0.70ct),

2 brilliant-cut D VVS1 diamonds (0.53ct each), 2 brilliant-cut D VVS2 diamonds (0.54ct each),

2 brilliant-cut E VVS1 and E VVS2 diamonds (0.54ct each)

and brilliant- cut diamonds; photography Copyright © Karim Sadli – Art + Commerce; Étoiles

Étoiles, Les Ciels de Chaumet. POA.

www.chaumet.com

The very first response upon discovering Les Ciels de Chaumet, the new high jewellery col-lection of Chaumet, is one of immense awe, and in the moment it was just impossible to describe the full effect of. The entire collec-tion is an assured exercise in craftsmanship and great French traditional style. It is divid-ed into four chapters that are a poetic explo-ration of the heavens. In Les Caprices du Ciel, storms are whirlwinds of mauves, yellows and pinks, and puffy clouds cloak sunrays; in Les Couleurs du Ciel, the sun is at times a gold-en beacon, a ball of fire or a bewitching glow. For Les Fulgurances du Ciel, shooting stars swirl or cascade, nebulas striate the midnight sky leaving a scintillating trail behind them. Lastly, Les Habitants du Ciel celebrate the nat-uralistic expertise of the house. Stylised swal-lows fly thick and fast while graceful cranes are locked in amorous parade.

These portable naturalistic and enchanting worlds, all encompassed in a miniature di-mension are testament not only to Chaumet atelier’s masterful expertise, but also to the creative team’s talent. Revisiting the vast ar-chives of the house to create never-seen-be-fore iterations is not an easy task but it shows their strength. The extreme refinement of Les Ciels de Chaumet impresses most through the virtuoso goldwork and miniature details. The signature technique of the house, fil couteau, is of course on show, and one of the English

translations, ‘on a knife edge’, could not be more suited to this collection. The metal is in-deed reduced to a thread. It is all about bring-ing to life a scene or character. Carefully se-lected gemstones serve the design and not the other way around. This celestial journey is a dream made real.

It is such a seminal collection that it de-serves more than just a few words. Let’s hear from Jean-Marc Mansvelt, Chaumet’s Chief Executive Officer, the man at the helm of the house since 2014 describe his infectious pas-sion, which could be one of the many reasons why Chaumet keeps delivering pitch perfect stories.

Mr Jean-Marc Mansvelt, Chaumet’s Chief Executive Officer.

www.chaumet.com

Olivier Dupon – The notion of travel seems om-nipresent in Chaumet’s high jewellery vocabu-lary. Is Les Ciels de Chaumet collection the ulti-mate dreamlike destination?

Jean-Marc Mansvelt – There is truth in thinking that once one has reached higher grounds, it may be difficult to go anywhere else. That said Les Ciels de Chaumet is not the ultimate des-tination. I already know what is in the pipeline for the next two years, and although very dif-ferent, the next high jewellery collections will keep their promises in terms of transporting one into mesmerising new worlds.

It is essential to understand that for each col-lection, the idea is to revisit themes that are in-scribed into the history of our house. Therefore – and to use the notion of ‘travel’ from your ques-tion – it is about journeying through our past to retrieve references that will resonate with to-day’s views. Think about our previous collection Les Mondes de Chaumet, whose concept was to celebrate the historical house’s embrace of foreign cultures. Or in the same vein, La Nature de Chaumet collection, which highlighted the fact that the re-imagining of nature had been one of the core pursuits of Chaumet since our beginning.

In the same way, a study of celestial elements has always been in our DNA (the motif of stars, moon crescent, birds, etc) and Les Ciels de Chaumet is a new take on the theme through an immersion in this specific repertoire. So yes, we are con-stantly travelling back and forth through time.

Necklace in 18K white and rose gold, set with 4 oval-cut

mandarin garnets (18.30, 4.00, 2.13 and 2.10cts), 6 pear-shaped

mandarin garnets (2.91, 2.10, 1.66, 1.60, 1.30 and 0.63cts), 5 pear-shaped yellow sapphires (4.78, 1.87, 1.81, 1.81 and 1.12cts) from Ceylon, 5 oval-cut yellow

sapphires (3.46, 2.26, 1.89, 1.82, 1.36cts from Ceylon), 1 oval-cut yellow sapphire (1.39cts

from Madagascar), 1 cushion-cut yellow sapphire (1.69cts from Ceylon), 1 pear-shaped yellow sapphire (0.92ct from

Madagascar), 1 cushion-cut pink-orange sapphire (2.70cts from Madagascar), 3 cushion-

cut Padparadscha sapphires (2.24, 1.50 and 1.41cts from

Madagascar), 1 cushion-cut Padparadscha sapphire

(1.44cts from Ceylon), 1 oval-cut Padparadscha sapphire from

Ceylon (1.58cts), 1 pear-shaped D VVS2 diamond (1.51cts), 4

pear-shaped D/E VVS diamonds (0.54, 0.52, 0.52 and 0.40cts),

pear-shaped, oval-cut and round yellow sapphires, oval-

cut and round red spinels, pear-shaped and round mandarin

garnets, briolette-cut and round orange sapphires and pear-

shaped, oval-cut and brilliant-cut diamonds;; Soleil de Feu, Les Ciels de Chaumet. POA.

www.chaumet.com

Olivier Dupon – Can you shed light on the in-spirations that led to Les Ciels de Chaumet?

Jean-Marc Mansvelt – Our patrimony is an in-exhaustible source of inspiration for us. It truly is a sensational treasure box that upon repeated inspections, will always surprise and fascinate. That said, we are not prisoners of our past and we do not feel intimidated by it; it is a platform which launches creativity; a platform that encourag-es us to surpass ourselves. Each collection is a very fluid transition to and from our heritage. Typically, at the start of every new high jewel-lery collection (we are currently at this stage re-garding the 2022 collection), the 20-or-so cre-atives and I collectively brainstorm on “how can we bring our heritage forward through the cho-sen theme”. Of course, the chosen theme will in-spire different ideas for every single person on the team, and we cross-pollinate those multiple ideas with outside references.

For Les Ciels de Chaumet, we have focused on painters old and new (J M W Turner, Claude Monet, Vincent Van Gogh, Henri Edmond Cross, Paul Signac, Ippolito Caffi) though through the prism of the here and now. Look at the co-lour palettes, which reflect our contemporary and far from literal approach to these sources of inspiration; they would have been unimag-inable in the past. This is how we never repeat ourselves. Our patrimony is a chance to proj-ect ourselves in 10 years from now and know that we will not lack creative resources.

Necklace in 18K white gold, set with 2 oval-cut Paraïba-type tourmalines (approx. 5.73 and 5.21cts from Mozambique), 42 fancy-cut multicoloured Paraïba-type tourmalines (approx. 63.77cts from Mozambique) and brilliant-cut diamonds; Passages, Les Ciels de Chaumet. POA.

Earrings in 18K white gold, set with 2 oval-cut Paraïba tourmalines (approx. 2.27 and 1.96cts from Brazil), 8 fancy-cut multicoloured Paraïba-type tourmalines (approx. 7.04cts from Mozambique) and brilliant-cut diamonds; Passages, Les Ciels de Chaumet. POA.

www.chaumet.com

Olivier Dupon – What influences the evolu-tion of Chaumet’s high jewellery designs?

Jean-Marc Mansvelt – L’air du temps is what really impacts the nature of our high jewellery collections. That said, on one hand, some of our younger collectors find comfort in our timeless classics, whilst on the other, some decidedly look for cre-ations that don’t evoke the old world. The latter seek pieces that are portals to an-other dimension. As a result, it is a balanc-ing act where we try to cater to both cate-gories through chapters in each collection; i.e. some chapters will address traditional expectations and others will provide nov-elty. Moreover, the way one now wears high jewellery has nothing to do with how it used to be. Consequently, proportions and ways to wear have all evolved and we must adapt.

Earrings in 18K white and yellow gold, set with 2 pear-shaped D IF diamonds

(1.57cts each), 2 marquise-cut tsavorite garnets (1.31cts), round yellow and

green sapphires and brilliant-cut diamonds; photography Copyright ©

Karim Sadli - Art + Commerce; Envol, Les Ciels de Chaumet. POA.

www.chaumet.com

Olivier Dupon – What is the typical creative process for each high jewel-lery collection at Chaumet?

Jean-Marc Mansvelt – First, it is very important to me that we stay true to what Chaumet is. Our integrity and point of view have enabled us to ex-ist and survive. I am particularly sus-picious when one tries to tick all the boxes. Our first conversation about a new collection starts with me propos-ing a theme, from which we explore various dimensions. From there, we build creative leads based on our her-itage and as mentioned earlier, out-side sources. This is when the creative team then gets total creative license. In other words, from this moment on, there are no briefs or checklists about what should be done or not. This cre-ative freedom is what enables our concepts to fully form unhindered. Of course, this is specific to high jew-ellery. Marketing considerations and formulas apply when it comes to our fine jewellery lines.

www.chaumet.comNecklace in 18K white gold and yellow gold, set with a pear-shaped E VVS1 diamond (approx. 2.02cts), 2 pear-shaped D VVS1 diamonds (approx. 1.13 and 0.72cts), marquise-cut tsavorite garnets, round yellow and green sapphires and brilliant-cut diamonds; Envol, Les Ciels de Chaumet. POA.

Ring in 18K white and yellow gold, set with a pear-shaped D IF diamond (3.07cts), a marquise-cut tsavorite garnet (0.50ct), round yellow and green sapphires and brilliant-cut diamonds; Envol, Les Ciels de Chaumet. POA.

Jean-Marc Mansvelt – Once we have a few concepts, the final selection follows an emotional and somewhat subjective, democratic process. It is what we col-lectively feel is right. Don’t forget that a high jewellery collection is a three-year-long team project. The cranes from the Parade, Les Habitants du Ciel chapter, or-ganically made it to the finish line, and at no point did we ponder “will they appeal to a certain market or not”. In compari-son, choosing the swallows was evident from the start for the swallow motif can be traced back to 19th century Chaumet archives.

I precisely remember when the cranes surfaced. I had not anticipated their in-clusion in Les Habitants du Ciel. I thought that other ideas would pan out instead. Behold, when they appeared, we all fell under their spell! They are so delicate, de-ceptively fragile, in their amorous parade posture. And what an homage to love! Beyond their participation in Les Ciels de Chaumet, I almost want to create a spin-off line, an addition to our repertoire of sentimental jewels.

www.chaumet.com Earrings in 18K white gold, set with 2 cushion-cut yellow sapphires (approx. 5.74 and 4.92cts from Ceylon), 2 round yellow sapphires (approx. 3.47 and 3.08cts from Ceylon), onyx and brilliant-cut diamonds; Parade, Les Ciels de Chaumet. POA.

Brooch in 18K white gold, set with a pear-shaped “ Golden Yellow ” sapphire (approx. 12.78Cts from Ceylon), a pear-shaped E VVS1 diamond (approx. 2cts), onyx, rock crystals and brilliant-cut diamonds; Parade, Les Ciels de Chaumet. POA.

Olivier Dupon – The delicacy of Chaumet’s compositions is a given, however you have surpassed your-selves in this new collection. Tell us more about the level of finesse that is so dazzling.

Jean-Marc Mansvelt – For the past four years, we have worked to claim back what has been Chaumet’s ex-ceptional prowess for centuries: the capture of ethereality. Les Ciels de Chaumet is another important step in our strategy. This extreme refinement goes hand in hand with superlative goldwork, one of our fortes that we intend to bring to the forefront. For centuries, Chaumet pioneered terrific techniques and standards for working gold (notably with the likes of René Morin and Pierre Sterlé). Refinement is indistinguishable from Chaumet’s aesthetics. Fil couteau, a mix of varied stone settings on the same piece help create volume and layers, and achieve a sense of fragility.

www.chaumet.com

Necklace in 18K white gold and yellow gold, set with a cushion-cut “Golden Yellow” sapphire (approx. 12.88cts from Ceylon) and brilliant-cut and baguette-cut diamonds; Nuage d’Or, Les Ciels de Chaumet. POA.

Ring in 18K white and yellow gold, set with a cushion-cut D IF diamond (approx. 5.01cts) and brilliant-cut diamonds; Nuage d’Or, Les Ciels de Chaumet. POA.

Jean-Marc Mansvelt – When I had to choose the cover image for our book in 2017 (Chaumet, Parisian Jeweller since 1780), I did not choose a diadem but instead a superb choker neckpiece which weighs almost nothing yet is strong and extremely flexible.

Back in 2016 with La Nature de Chaumet collec-tion, a celebration of Nature as much as a prom-ulgation of our true essence (in French, ‘la nature’ means both), we aimed at recapturing lightness and grace, which more than a question of know-how is sheer virtuosity. It is no wonder that diadems and tiaras are emblematic designs of our House: the ul-timate bridges between above and below, sky and ground. They also elevate; almost procuring a sense of transcendence. After all, Chaumet is the go-to house for royals par excellence.

www.chaumet.com

Brooch in 18K white and yellow gold, set with brilliant-cut and baguette-cut diamonds; Nuage d’Or, Les Ciels de Chaumet. POA.

Tiara in 18K white and yellow gold, set with a cushion-cut Fancy Intense Yellow IF diamond (approx. 2.51cts), 21 cabochon-cut rock crystals and brilliant-cut diamonds and yellow diamonds; Soleil Glorieux, Les Ciels de Chaumet. POA.

Olivier Dupon – What is Chaumet’s position when it comes to gemstones used in high jewellery?

Jean-Marc Mansvelt – One does not buy our high jewellery to boast about status or to acquire it. We have suc-cessfully navigated through so many historical events (two and a half cen-turies of existence and counting), that somehow, we have come out equipped to face whatever the future holds. Take the Art Deco theme that is not present in our collections. It has been monop-olised by some of our counterparts, whilst we have moved on. Our collec-tors have simply nothing to prove and they avoid ostentation. It is actual-ly why we are not competing to pro-vide bigger carat weights (interest-ingly all the biggest gems have come to our ateliers at some point – e.g. Le Regent).

In our high jewellery, gemstones are part of the ensemble. They contribute to the composition. In Lueurs d’Orage, Les Caprices du Ciel chapter, where the colour palette is subtle yet rich, we had to find the right gemstones to suit the design. A very challenging way of working when you think about the in-tricacy of the colour scheme.

www.chaumet.com Earrings in 18K white and yellow gold, set with a pear-shaped Imperial topaz (5.80cts), an oval-cut Imperial topaz (2.54cts), a pear-shaped rhodolite garnet (5.77cts), an oval-cut purple sapphire (3.72cts) from Ceylon, 2 pear-shaped pink spinels (0.76 and 0.73ct), 2 fancy-cut purple sapphires, round fancy sapphires, motifs of baguette-cut onyx and brilliant-cut diamonds; Lueurs d’Orage, Les Ciels de Chaumet. POA.

Transformable necklace in 18K white and yellow gold, set with a pear-shaped Imperial topaz (37.68cts), 1 pear-shaped pink spinel (approx. 1.95cts), 1 cushion-cut yellow sapphire (approx. 1.23cts from Madagascar), 1 round pink sapphire (approx. 1.14cts from Madagascar), 1 oval-cut yellow sapphire (approx. 1.09cts), 1 oval-cut pink sapphire (approx. 0.97ct from Ceylon), 1 oval-cut purple sapphire (1.09cts from Madagascar), 1 oval-cut orange sapphire (approx. 0.56ct), 4 round yellow sapphires (approx. 1.34cts), 3 round purple sapphires (approx. 2.60cts), round pink spinels, round and baguette-cut yellow and purple sapphires, motifs of baguette-cut onyx and brilliant-cut diamonds; Lueurs d’Orage, Les Ciels de Chaumet. POA.

Jean-Marc Mansvelt – It reminds me of an encounter with a Taiwanese col-lector when we were launching Chaumet est une Fête high jewellery col-lection. In Rhapsodie Transatlantique – one of the chapters, unconventional shades of semi-precious gemstones were the concept, and this person, who demonstrated an incredible knowledge of the trade, told me that “any high jeweller can deal with diamonds and precious stones, yet it is only at Chaumet that harmonious and daring colour compositions can be found. Only a house with your history and legitimacy can achieve this.” Since that day we explic-itly embrace this unique characteristic of ours. Although we obviously deal with beautiful diamonds and precious stones, our touch is to bring semi-pre-cious ones in unison. For one way to provoke an emotion is to surprise, and conjure the unexpected

www.chaumet.com Brooch in 18K white gold, set with a cushion-cut red spinel (18.47cts), 2 pear-shaped blue spinels (5.60 and 1.12cts), 2 pear-shaped chrysoberyls (3.51 and 2.27cts), 3 pear-shaped indicolite tourmalines (3.04, 1.47 and 0.65cts), a pear-shaped red spinel (1.19cts), a pear-shaped chrysoberyl, round sapphires, blue spinels and rhodolite garnets and brilliant-cut diamonds; Soleil de Minuit, Les Ciels de Chaumet. POA.

Bracelet in 18K white gold, set with 5 pear-shaped chrysoberyls (4.55, 0.46, 0.45, 0.45 and 0.41ct), a round indicolite tourmaline (2.30cts), an oval-cut red spinel (1.11cts from Burma), 3 oval-cut chrysoberyls (1.32, 0.55 and 0.52cts), 2 cushion-cut blue spinels (1.73 and 1.69cts), 4 oval-cut blue spinels (1.33, 1.32, 1.11 and 0.72cts), an oval-cut red spinel, 2 round red spinels (1.75cts), round rhodolite garnets and sapphires, oval-cut, round, cushion-cut and pear-shaped indicolite tourmalines and brilliant-cut diamonds; Soleil de Minuit, Les Ciels de Chaumet. POA.

Flying Tourbillon watch in white gold, bezel and hinges set with brilliant-cut diamonds. Crown set with brilliant-cut diamonds and a facetted sapphire. Hand-engraved sides set with brilliant-cut diamonds. Dial in gold, guilloched, with a grand feu enamel colour gradation made by Anita Porchet. It is adorned with a colourful swirl of light in white gold, with millegrain motif on the tips, set with 3 round blue topazes, 3 round demantoid garnets, 3 round rubies, a round yellow sapphire, a pear-shaped yellow sapphire, a pear-shaped green tourmaline, a pear-shaped demantoid garnet assembled on a vibrating system, and brilliant-cut diamonds. Openwork tourbillon cage bridge with a swirl motif, hand painted with a green colour gradation. Skeleton case back revealing an engraved swirl motif on the back bridge. Swiss manual-winding flying tourbillon movement. Dark blue shiny alligator strap. White gold folding buckle picturing a criss-cross of light rays set with brilliant-cut diamonds; Soleil de Minuit, Les Ciels de Chaumet. POA.

www.chaumet.com

Olivier Dupon – How is Chaumet committed to the preservation of métiers d’art joailliers?

Jean-Marc Mansvelt – We are fully committed to the preservation of métiers d’art joailliers. First with Benoit, the head of our atelier. 50% of his time is to accompa-ny and train the new generation of craftsmen and wom-en. As a result, you will find in the workshop people that have been with us for 40 years or so and apprentices. Besides, one of the main reasons for the current reno-vation of our Place Vendôme’s mansion is to triple the existing atelier’s size so that it will occupy the full third floor and to double the number of jewellery makers (by bringing in young candidates).

Furthermore, we are part of the LVMH Institut des Métiers d’Excellence (the program is designed to enable LVMH to transmit its savoir-faire to the younger generations in both traditional craftsmanship métiers, as well as creative and sales professions, enhancing their employability) through which we collaborate with schools (such as our three-year partnership with les Beaux Arts school). Of course, the other side of the coin is that we also have to trigger a curiosity or desire in youngsters to come and join us. It is important to demystify our world. Beyond the wow factor, there are people at work. Although our business naturally possesses confidential aspects, the rest should not be secretive. Showing what we do is key via our ex-hibitions or the LVMH Journées Particulières (open door events across the group). I have experienced two. At the first in October 2016 there were 3,000 attendees over 3 days and I reckon that the average age was 40+. Two years later, for the October 2018 edition, the average was below 30.

www.chaumet.com

Brooch in 18K white and rose gold, set with a pear-shaped yellow sapphire (approx. 2.28cts from Ceylon), 2 square-cut yellow sapphires (approx. 0.78ct), a round yellow sapphire (approx. 0.70ct), a pear-shaped pink sapphire (1ct from Madagascar), 3 round pink sapphires (0.67ct), a pear-shaped sapphire (approx. 1ct from Ceylon), 7 round sapphires (1.50cts), a brilliant-cut D VVS diamond (0.50ct), a pear-shaped D VVS diamond and brilliant-cut diamonds; Parade, Les Ciels de Chaumet. POA.

www.chaumet.com

Necklace in 18K white gold, set with 2 pear-shaped yellow

sapphires (approx. 4.59 and 2.54cts from Ceylon), a cushion-

cut yellow sapphire (4.53cts from Ceylon), 14 square-cut yellow

sapphires (5.88cts), a pear-shaped D VVS diamond (approx. 3cts) and

brilliant-cut diamonds; Parade, Les Ciels de Chaumet.

POA.

Olivier Dupon – Can you please explain why more complication watches than ever before are in the high jewellery collection, Les Ciels de Chaumet?

Jean-Marc Mansvelt – Four years ago, we decid-ed to re-assess why we were also watchmakers. Originally, Chaumet wasn’t one. It was a jewel-lery house that was offering time keepers - high jewels that were giving time. In other words, our knowhow was not in watchmaking and for that reason we soon started to collaborate with eponymous watchmakers such as Breguet, who a century later came to belong to us through the 70s to the 80s. Our high jewellery collections being a window to showcase our excellence, it is there that our limited edition and one-of-a-kind complication watches belong, alongside the high jewellery watches.

Once we ascertained in our collective mind that we were both watch and jewellery makers, the logic was to bring the two streams of expertise together. When I first joined this world, I was taken aback by the separation (lack of commu-nication) between the highly skilled watchmak-ers on one hand and the similarly talented jew-ellery makers on the other.

Our tourbillon watches (with Hublot movement) are testament to this newly found collaboration, and it is true that we have amped up their pres-ence in our high jewellery collections.

www.chaumet.com

Jumping hour Creative Complication watch in white gold, bezel, hinges and crown set with brilliant-cut diamonds. Dial in two parts, adorned with a coloured mother-of-pearl marquetry picturing a swirl of lightning flashes, some of which are set with brilliant-cut diamonds, round pink and blue sapphires. Swiss mechanical self-winding movement, with a jumping hour complication. The sun indicates the hours, the minutes are indicated by the diamond-paved lightning flash on the central motif. Blue shiny alligator strap. Folding buckle in white gold representing a lightning flash motif set with brilliant-cut diamonds; Lueurs d’Orage, Les Ciels de Chaumet. POA.

www.chaumet.com

Jumping hour Creative Complication watch in white gold, bezel, hinges and crown set with brilliant-cut diamonds. Dial in two parts, adorned with a coloured mother-of-pearl marquetry picturing a swirl of lightning flashes, some of which are set with brilliant-cut diamonds, round yellow, orange and pink sapphires. Swiss mechanical self-winding movement, with a jumping hour complication. The sun indicates the hours, the minutes are indicated by the diamond-paved lightning flash on the central motif. Fuchsia shiny alligator strap. Folding buckle in white gold representing a lightning flash motif set with brilliant-cut diamonds; Lueurs d’Orage, Les Ciels de Chaumet. POA.

Olivier Dupon – Is there a piece that made its way into the collection but that you feared was too challenging?

Jean-Marc Mansvelt – Upon seeing the sketch for the Passages Necklace, Les Fulgurances du Ciel chapter, I was slight-ly anxious. For one, the opal is so impact-ful that I thought “how are we going to make it look light, and more important-ly will it fit our celestial theme rather than evoking deep seas?” and at the back of my mind was the question of our investment in time and effort (such a piece typically monopolises one year of atelier work). I understood how it could work if, and only if, the rendition was one solid piece; how-ever, being a multi-layered composition, I could not wrap my head around its incep-tion. Although Benoit (head of atelier) is always positive with a strong sky-is-the-limit attitude, it took me a while, seeing the paper then wax models, to be fully confident that it could indeed work.

www.chaumet.com

Necklace in 18K white and rose gold, set with 6 black opals (approx. 28.11, 6.96, 6.84, 2.92, 2.13, 2.08cts from Australia), an oval-cut Paraïba tourmaline (approx. 4.34cts from Brazil), 31 fancy shaped multi-coloured Paraïba-type tourmalines (64.22cts from Mozambique) and brilliant-cut diamonds; Passages, Les Ciels de Chaumet. POA.

Ring in 18K white gold, set with a black opal (29.40cts from Australia) and brilliant-cut diamonds; Passages, Les Ciels de Chaumet. POA.

Earrings in 18K white gold, set with 6 black opals (approx. 7.10, 6.69, 5.09, 3.10, 3.07 and 1.94cts from Australia), 4 fancy-cut multicoloured Paraïba-type tourmalines (approx. 8.77cts from Mozambique) and brilliant-cut diamonds; Passages, Les Ciels de Chaumet. POA.

Olivier Dupon – Although this may be an impossible question, do you have a preferred theme or piece?

Jean-Marc Mansvelt – One of my favourite themes is Etoiles, Etoiles, Les Fulgurances du Ciel chapter for it succeeds in bringing a brand new iteration of the icon-ic star motif. I knew that it would be beautiful but the challenge remained: how could we do the same but dif-ferently? A symbol that has been used so many times in the past…

Somehow for me, this theme represents the quintessence of creativity. When you think of it, in the end, there are only white diamonds, the artifice is subtle. It manages to exude evanescence and the stars are now seen in a new light. The bottom line is, as in anything, once we gave our best, magic could happen.

www.chaumet.com Earrings in 18K white gold, set with brilliant-cut diamonds; Étoiles Étoiles, Les Ciels de Chaumet. POA.

Ring in 18K white gold, set with a brilliant-cut D IF Type II A diamond (5.01cts) and brilliant-cut diamonds; Étoiles Étoiles, Les Ciels de Chaumet. POA.

www.chaumet.com

The making of stars: necklace in white gold, set with 4 brilliant-cut E VVS1 diamonds (1.03, 0.74, 0.70 and 0.35cts), 3 brilliant-cut D VVS2 diamonds (0.70, 0.35

and 0.35ct), 3 brilliant-cut E VVS2 diamonds (0.70, 0.41 and 0.36ct), 3 brilliant-cut E VVS2 diamonds

(0.35ct each), 2 brilliant-cut D VVS1 diamonds (0.46 and 0.37ct) and brilliant-cut diamonds;

Étoiles Étoiles, Les Ciels de Chaumet. POA.