So now I’ve had my own – terrifying yet titivating – red carpet moment, in Cannes, courtesy of Chopard, official partner and firm fixture at the Film Festival, since 1998, adding a mighty glamour quotient, decking the stars out in dazzling jewels (although I wore Vicky Sarge costume jewellery earrings, but no one was looking anyway.) Which started me thinking, once again, as I seem to do every awards season, about the cult of celebrity dressing, how, if and why it works.
Celebrity dressing has been the major marketing vehicle for jewellery for decades now and shows no sign of abating, instead it’s escalating. It was Harry Winston, known as Jeweller to the Stars, a genius entrepreneur as well as an impassioned gem expert and lover, who first lent diamonds to Hollywood star, Jennifer Jones for the 1944 Academy Awards; they brought her luck as she won best actress that year. He had nurtured the Hollywood connection even earlier, in the 1930s, photographing the monumental Jonker diamond with Shirley Temple.
That was a time when jewels were a vital part of the persona of a Hollywood star, essential to image, on and off screen, ramping up the glamour and style. A time too when the movie stars bought their own jewels, choosing them, even commissioning them, as Marlene Dietrich did with her stupendous Van Cleef & Arpels Jarretière cuff bangle, so that they oozed individuality. And we all know about Elizabeth Taylor and her insatiable passion for jewels, how they told the story of her love affair with Burton and Bulgari.
Of course as a jewellery historian I love history, and adore watching old movies keeping an eye out for the Hollywood jewels that were so chic, but I can’t help regretting that stars today don’t always take their jewellery seriously as powerful expressions of personality. That the Oscars often play it safe, and jewellery can look stilted, when jewels seem most at home at Cannes, part of the old school glamour that still hovers over the Cote d’Azur, like a nostalgic cloud of remembered fragrance.
Although there are still real red carpet ‘moments’ – at Cannes, Cate Blanchett sent a message through the shoulder ornament made for her by Louis Vuitton from recycled materials; Anya Taylor Joy looked spectacular for the screening of Furiosa in a Tiffany necklace that worked so well with her gown; and looking back, briefly, Lady Gaga did justice to the legendary Tiffany diamond; I remember too when Nicole Kidman wore a dramatic necklace of rough diamonds and of course when Fred Leighton started putting antique or vintage jewels on the carpet, a watershed moment bringing vintage into the mainstream.
This year at Cannes, the indefatigable Caroline Scheufele launched her own collection of couture gowns designed expressly to show Chopard jewels to perfection. Chopard is actively and legitimately involved in the Festival, designing the Palme d’Or and instigating and sponsoring the Young Talent award. While the Chopard Red Carpet collection, launched each year in Cannes was fabulously fantastical, embodying all the escapism and glamour of the movies.
Does it work?? It certainly boosts image and visibility and besides there’s nothing else to take its place in our celebrity fuelled society. It seems that clients fall into two distinct and diametrically opposite categories: the ones who watch the red carpets like hawks (or should that be magpies) and can’t wait to get their hands on a jewel worn by a star; and the ones who wouldn’t dream of owning or wearing a creation seen on someone else, especially in public, especially, I conjecture, when that creation has been part of a sponsorship deal.
Jewels belong at Cannes, culturally, but for me what’s lacking generally is that cultural relevance, a sense of belonging or authentic engagement. I think it’s happening slowly, Beyoncé and Rihanna choose and buy their own jewels as part of their powerful personae – but then of course jewels are so much part of hip hop culture, which I love. Jewels are also becoming more of a focus for wardrobe directors or costume designers, especially for television blockbusters. Adding to characterization, atmosphere or theme.
Shaun Leane reported a massive response when Villanelle (Jodie Comer) wore his suitably fearsome hook earrings and Hannah Waddington too in Ted Lasso. At last year’s Met Gala, Michaela Coel wore jewellery made specially for her by Emefa Cole, of Ghanaian heritage, to tell the story of gold and Ghana and SMO fully traceable from specific African mines.
Although, full disclosure, bit of a purist that I am, I switched off from Bridgerton as soon as I saw that the jewels were completely wrong for the period… apparently, that was the whole point… did I miss it??
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