In fact, just as women rarely took to wearing a single necklace during the Renaissance, men of the era layered chains and valuable pendants atop their bejeweled clothing. Kim works exclusively with eco-friendly gold, and these fashionable, fun accessories owe to the design of 19th-century watch fobs.įor some, necklaces are thought of as being a solely feminine piece, but this widely loved accessory has been gender-neutral for eons. Today, wearing jewelry is about personal expression: Luxury diamond necklaces exude confidence and can symbolize the celebratory nature of a deep romantic relationship, while paper-clip chain-link necklaces designed by the likes of goldsmith Faye Kim are firmly planted in the past as well as the present. In ancient times, pendant necklaces worn by royalty and nobles conferred wealth and prestige. Lapis lazuli beads adorned necklaces unearthed from the royal graves at the ancient Iraqi civilization of Sumer, while the excavation of King Tut’s burial chamber revealed a sense of style that led to a frenzy of Art Deco designs, with artisans of the 1920s seeking to emulate the elegant work crafted by Ancient Egypt’s goldsmiths and jewelry makers. The padlock has remained a signature of Hermès, in watches and jewellery – including on the Kelly Clochette rings, bangles and chain necklaces, which are accompanied by a tiny key and bell-shape motif, taken from the leather key-envelope on the Kelly bag, as well as on the O’Kelly pendant and earrings, or as a sleek clasp on the Clic Cadenas bangles.We are fortunate to know much of the world’s long and dazzling history of necklaces, as this type of jewelry was so treasured that it was frequently buried with its owners. In 1987, chairman Jean-Louis Dumas initiated an annual theme to reflect the maison’s cultural connections, and with that he developed a new padlock each year, a tradition that continued until 2010. Similarly, at Hermès, the lock and key is a defining feature of the iconic Kelly bag, and one that has become a jewel in its own right. Production, Robin Cohen © Anthony Seklaoui Photographer’s assistants, Jean-Romain Pac and Hugo Veuillet. Casting, Keva Legault for Julia Lange Casting. ![]() Manicure, Virginie Mataja at Airport Agency. Shoot: Hair, Pierre Saint Sever at The Art Board. Louis Vuitton for Unicef silver Lockit pendant and chain, £555, and white-gold and diamond Lockit padlock and key pendants (worn as earrings), both POA. Roseberry has taken this inspiration and created oversized, surrealist gold earrings and necklaces that look both delicate and tough and have a magical quality, hinting at secret treasures. The padlock first appeared in the house’s 1935 haute-couture collection on a handbag, as a protective seal to what Schiaparelli believed was a woman’s private world, and has since become a recurring motif in embroidery, on buttons, clasps and jewellery. Givenchy silver necklace, £1,590, silver and opal G earrings, £450, and cotton coat, £2,390 © Anthony SeklaouiĪt Schiaparelli, Daniel Roseberry gave a very different, otherworldly meaning to the padlock – one of founder Elsa Schiaparelli’s favourite symbols – as embellishment, jewellery and hardware. It’s also a playful reference to the padlocks fastened, in an act of love, to the Pont des Arts in Paris – his new creative home – and, surely, a link to the skateboard culture of his past life in California. Williams says the padlock represents the synergy of utility and luxury, and is a connection between Givenchy’s men and women. Contrasted with soft, draped silhouettes, these mechanical-looking pieces swing from belts like modern-day chatelaines, or are reconfigured into tough, punk-inspired earrings and necklaces. Matthew Williams picked a padlock almost straight out of the hardware store to mark his debut as creative director at Givenchy. ![]() The padlock – both intimate and industrial, mysterious and mundane – is cropping up in the collections of fashion and jewellery houses this spring. The recent surge in popularity of charms and talismans has shown that, even in our super-rational age of science and technology, we’re still driven by an atavistic impulse to cling to amulets.
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