![]() ![]() As Coco herself said, “Nothing could be better for forgetting the crisis than feasting one’s eyes on beautiful new things, which the skills of our craftsmen and women never cease to unveil.” Following the two-week exhibition, which was visited by the great and good of the Parisian creative scene, including Pablo Picasso, Gloria Swanson, Condé Nast and star dancers from the Ballets Russes, shares in the company rose and a new buzz around diamonds and precious jewelry was achieved. The collection was financed by the London Diamond Corporation, who hoped that Chanel’s creative talents might kickstart renewed energy in the market following several years in the doldrums. The cover of Vogue Paris, January 1933, in which the collection was reviewed. A crescent moon cradles a 55.55 carat ( naturellement, five being Coco’s favorite number), intense blue sapphire, while a comet centres on an 8.02 carat pear-shaped diamond, its fiery tail coming alive in gradated lines of diamonds in assorted cuts. ![]() In the Allure Céleste, the movement and light that emanates from the night sky is captured in shimmering halos of diamonds that radiate out from each motif. ![]() “I wanted to create a different vision of this legacy, by setting these celestial elements in motion,” he explains. Patrice Leguéreau, director of the Chanel jewelry creation studio today, says he wanted 1932, which will launch fully in May, to pay homage to the audacity and wearability of Coco’s Bijoux de Diamants – which eschewed clasps and fuss in favor of bold, transformable pieces in a palette of diamonds and platinum – and at the same time move the conversation forward. It can be worn in a number of ways including as a short necklace, three brooches and as a bracelet. The Allure Céleste is the starry centrepiece of the 1932 collection. ![]()
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