How does a jewellery house update an iconic collection that’s fundamental to its bottom line? In the case of Van Cleef & Arpels and the juggernaut Alhambra fine jewellery line, you lean into subtle transformations. This month, the French jeweler is adding new convertible pieces that can be worn multiple ways.
The first is a long Magic Alhambra necklace with an attachment that can either be another layer of the necklace, or its own bracelet. The second is a ring in the Vintage Alhambra style, with a reversible head that will come with either rose gold and gray mother of pearl or white gold and chalcedony with diamond. The wearer can flip the head over and showcase one side or the other depending on the mood.
This shape-shifting nature of these pieces also happens to be a tenet of Van Cleef & Arpels jewellery design going back to the mid-20th century, and is exemplified by the brand’s Zip necklace, which can be opened and shut around the neck like the zipper of a jacket. Originally commissioned by Wallis Simpson, the Duchess of Windsor, in 1938, it was not produced until 1951, but it continues to be a hallmark of the brand’s high jewellery.
The Alhambra collection of rings, bracelets, watches and necklaces features four-leaf clover motifs outlined with tiny beads of gold. The clover shapes themselves can be semi-precious stones, like malachite and carnelian, or carved gold or mother of pearl. Since this hugely popular line is so key to the Parisian jewellery house, I wanted to chat with CEO Catherine Rénier about what goes into making changes and additions. Here’s our conversation, edited for length and clarity.
How do you keep a recognisable line like Alhambra fresh?
Alhambra was born in 1968 and since then has always been part of the maison’s expression. And the symbolism behind Alhambra, luck and the positive vision of life, has been core to the maison since before even that. The new collection is a play with alternating motif sizes that we began with Magic Alhambra in 2006, but this time adding the transformability that is dear to the maison—where a long necklace becomes a short necklace and a bracelet. That’s the first that we’ve brought this aspect of our inspiration into Alhambra.
Even after many years with the maison and loving this collection, when I see a new colour or stone in Alhambra, I always feel that it’s a new collection. It does bring a new identity every time.
Well, the “high council” are our stone experts. Because the big question is whether the quality of the stone we want to use is within our standards and whether there is enough availability. Sometimes there are stones and colours that we like so much that we decide to launch them despite small quantities. And these are what we call our “rare materials,” which we know will never have enough of for the market, but still they are adding to the identity and the story of Alhambra. For instance, turquoise or lapis lazuli have been there for a long time, but always in very small quantities because the supply is extremely limited.
How much of a percentage of your fine jewelry business does Alhambra represent?
I cannot share numbers. Of course it’s an iconic collection for the maison. But beyond the numbers, it’s really the identity—and has built the awareness—for Van Cleef & Arpels with a clientele at large. Since it was created, Alhambra has been a steady signature because of its style, its play with colours, and the fact that it’s permanently renewing itself.
Would you ever do leather goods with Alhambra motifs? Or go into other categories, the way Bulgari has bags with snake-shaped clasps?
We’ve done such projects in the past, and in the end we like to stay where we know best. Meaning that we are truly jewellers. We have been for a hundred years, and we have learned that the best expression is within the area we’ve mastered: jewellery, and of course watches. There is no point for us to go and take it a lot further in areas where we would not add value on the craftsmanship.
How important is it for you to expand the fine jewellery business beyond Alhambra?
It’s not more important today than it was yesterday. We’ve always been extremely creative in our expression. For us to bring new symbols, new ways to reinterpret our patrimony, that brings our artisans inspiration and motivation. This year we introduced a new collection just this month with Flowerlace, with new shaped flowers in gold. We try to have a permanent, ongoing inspiration, not only in high jewellery, but in fine jewellery as well. This is what gives us this fuel of creativity.
By Chris Rovzar