有故事的珠宝

本文是最不好惹的时尚评论家之一SUZY MENKES为前不久的巴黎高级订制时装周上高级珠宝展撰写的评论，此次展出是即将举行的巴黎古董双年展的预演，文中介绍了各大品牌高级珠宝的设计理念及特点，展示了传承百年的精湛工艺，揭示了当下珠宝的流行趋势——类似于变形金刚的立体变幻拆组设计-_-！

PARIS — You don’t need 3-D glasses for the sculpted shapes to stand out and the colors to pop. But the high jewelry that had an open day during last week’s haute couture season is finely tuned to the latest fashion.

巴黎——观赏技艺超群的雕塑以及时髦亮眼的色彩根本无需3D技术。但是就在上个礼拜的高级订制时装周开放日上，所展出的高级珠宝却恰到好处地契合了这个当下最时髦的元素。

Whether it is a balloon dangling from a necklace as part of a Jules Verne inspiration at Van Cleef & Arpels or the voluptuous and brightly colored Bollywood influences at Dior, the haute joaillerie told its stories in an almost cinematic style.

不管梵克雅宝是不是在项链上缀着晃动的气球做为对来自儒勒凡尔纳的灵感展现，也不管迪奥是不是用鲜亮撩人的色彩来表达宝莱坞对品牌的影响，高级珠宝都在用类似影像的方式讲述着他们的故事。

And 3-D was definitely on the agenda when Chaumet staged a mini-fashion show with models dressed in geometric paper dresses, their “head jewelry” shown against the backdrop of historic diadems displayed on the salon walls.

尚美上演了一场迷你秀，陈列着见证历史的王冠的沙龙墙面成了秀的背景，模特们穿着立体几何造型的纯白纸裙，展示着她们的“头饰”。这一切都毫无疑问地表明3D正当时。

Plays on color and texture are also part of these exceptional jewels, with rare colored diamonds and especially non-blue sapphires adding delicate tones. On the same register, a table-cut or cabochon stone changes the play of light on the gems, as well as literally offering different facets.

色彩与结构的表现亦是这些非凡珠宝的一部分。稀有的彩色宝石尤其是异色蓝宝石增添了饰品的精美感。同样，顶面切平或是圆顶无刻面的结构改变了宝石光泽度的同时，也展示着宝石的不同侧面。

The other 21st-century factor is the interactive and personal nature of the jewels, which can be taken apart to be worn in various settings or changed in playful ways while being worn. This requires not so much new technology, but its integration with centuries-old jewel craftsmanship.

21世纪珠宝的另外一个要素就是交互性与个性并存的特征。它们既能够在不同的场合下佩戴，又可以用不同的方式戴出有趣的味道。这并不要求多么高新的技术，但需要跟传承百年的珠宝手艺融合起来。

The story at Van Cleef & Arpels was an extraordinary journey — “20,000 Leagues under the Sea” and “Five Weeks in a Balloon.” The 19th-century works of Jules Verne were translated into the language of stones, and the result was stunning.

梵克雅宝的故事是一次非凡的旅程——“海底2万里”和“气球上的五星期”。19世纪儒勒凡尔纳的科幻名作被译成宝石语言后，美得令人窒息。

“Creating emotion from nature, playful pieces and living jewels,” said Stanislas de Quercize, the chief executive of Van Cleef, referring to a paradise where roses have no thorns, where a globular opal looks like the Earth viewed from space, and where a client can move a diamond rocket around a star-studded lapis lazuli sky.

“从大自然、好玩的物件和鲜活的珠宝中创造出情感”，梵克雅宝的首席执行官Stanislas de Quercize如是说。就像一个天堂，那里的玫瑰没有利刺，球形猫眼石像是从太空中看到的地球，而顾客则可以让一枚钻石火箭穿梭在星罗棋布的天青石天空之中。

Showing only 33 of the 100 pieces that will be on display at the 25th Paris Biennale des Antiquaires in mid-September, this Van Cleef collection still managed an impressive journey. It encompassed jewels suggesting the sinuous source of the Nile, glacier-blue chalcedony penguins, a whale spouting a diamond “spray” and diamond-encrusted polar bears. And the idea of revisiting the ideas of Jules Verne was imaginative, given that the Industrial Revolution that was shaking society a century ago is matched by today’s love/hate relationship with technology.

尽管在9月中旬即将举行的第25界巴黎古董双年展上只会展出这100件作品中的33件，但梵克雅宝依然奉上了一路令人印象深刻的征程。珠宝刻画出蜿蜒曲折的尼罗河发源地，企鹅在冰川蓝玉髓上雀跃，鲸鱼喷出璀璨的钻石浪花，钻石为衣的北极熊熠熠生辉。将儒勒凡尔纳的思想重现的理念是多么富于想象力，因为一个世纪前工业革命给整个社会带来的震撼恰好呼应着今天对于科技的爱恨交织。

The theme of nature — especially flowers — grew throughout the high jewelry collections.

大自然的主题——尤其是花朵——贯穿整个高级珠宝系列。

The synergy was perfect between Victoire de Castellane, Dior’s jewelry designer, and John Galliano and his haute couture, for both were captivated by the idea of making flowers contemporary. The vivid colors that appeared on the Dior runway were even more eye-popping in the “Le Coffret de Victoire,” where the fine gems mingled with semi-precious stones like a green opal. The concept of making the natural seem hyper-real in its brightness and boldness made sense of the Bollywood theme.

迪奥的珠宝设计师Victoire de Castellane与约翰·加利亚诺和他的高级订制时装之间有着完美的协同促进作用，因为他们都为时髦花朵的理念所折服。高品质宝石混搭绿色猫眼石之类准宝石的组合，使得迪奥T台上灵动的色彩在“Victoire的珠寶盒”系列中更加夺人眼球。用大胆鲜艳的色彩将天然之美表达出超现实的意境，这一设计理念凸显了宝莱坞风格主题。

The seductive lure of the boudoir was the story at Boucheron, where powder puffs laid out on cherry-red silk introduced ultra-feminine pieces, such as “Coquette Houpette,” or “Saucy Powder Puff,” — a pavé diamond necklace, its fluffy and feathery circles dotted with purple, pink and blue sapphires. Once again, the pieces — and even the necklace itself — can be moved around.

宝诗龙的故事是闺房的迷人诱惑。粉扑摆置在樱桃红丝绸上，衬托着极富女性气息、像“风情小簇”或 “俏皮粉扑”那样的物件——密镶钻石项链，项链柔软的绒毛簇上点缀着紫色、粉色和蓝色的宝石。毫无例外，这些单品，甚至项链本身，都能随意拆换组合。

This witty but elegant “ooh, la, la!” Boucheron collection included a “Stolen Kiss” parure, with diamond curls inset with lipstick-red and glossy-pink rubies and diamonds.

情趣横生却很优雅的“欧拉拉”宝诗龙系列包括了名为“偷吻”的全套首饰，其造型中，钻石以螺旋状嵌入酒红色和荧光粉的红宝石以及美钻之中。

Chanel’s inspiration was feather light — the diamond plume that Coco herself created in 1932. But as well as reworking the original fronds of diamonds into an articulated mix of brilliant- and princess-cut diamonds set in white gold, the collection flew off in new directions. The jewels, set alongside bird cages, empty but for a fluffy white feather, were mainly in white diamonds with inserts of stones in soft shades like pale rose-colored, pear-shaped sapphires.

香奈儿的灵感则是轻若鸿毛——Coco自己在1932年设计的钻石羽饰。但是，就像把钻石叶片再加工成镶嵌在人造白金中混合了磨光切割和公主切割工艺的钻石链一样，新系列也有了新趋势。空空的只剩一片轻柔的白色羽毛的鸟笼旁边，是镶嵌着淡玫瑰色宝石，缀着梨型蓝宝的白钻美饰。

Chaumet has the right to trumpet its tiaras, for the house has made over 2,000 since 1780 and, eight years ago, brought out a book on the subject. But the purpose of Thursday’s show was to make the head decorations seem as light as the paper dresses. And among the formal tiaras, some of them historic pieces, were rivulets of diamonds from a necklace running through the hair or a brilliant-cut diamond Alice band, decorated with dangling stones: asparagus green peridots with pink and green tourmalines.

尚美有资格炫耀它的头饰，因为这间工作室从1780年起已经制作了超过2000件作品，并在8年前为此出版了一本书。但是周四秀的目的是为了展现头饰就如纸裙般轻盈。正式展出的头饰中，有的如钻石小溪般从颈项流出穿过秀发，有的则在明亮式切割的钻石发箍上装饰着芦笋绿的橄榄石和粉绿碧玺，而这些都是前所未有的。

Travel is the soul of Louis Vuitton, but Lorenz Bäumer, the artistic director for high jewelry, gave something new to that concept and to Vuitton’s geometric toile patterns by envisaging flowers in exotic places.

旅行是路易威登的灵魂，但是高级珠宝艺术总监Lorenz Bäumer却为这个概念以及威登的几何帆布图案赋予了新内容——想象中的异域之花。

“I wanted to made them light and supple,” the designer said, referring to inspirations he took from Brazil and Tahiti, focusing on tropical flowers like the frangipani and on stones with a subtle palette, including watery aquamarine and chalcedony, or green shades of emerald and jade.

“我想把它们弄得轻巧灵活些”，设计师说道。他从巴西和塔希提岛带回的灵感，集中展现在像鸡蛋花这类的热带花朵以及包括水润的绿玉和玉髓这些具有辨识度色彩或是翡翠绿的宝石上。

The LV-cut diamonds and discreet inserts of the brand’s signature monogram flower were integrated into the six parures and 35 other pieces.

LV式切割钻石以及谨慎加入的品牌标志花朵被整合到六个全套首饰和35件单品之中。

“But Vuitton is also about transgression,” said Mr. Bäumer, referring to the bags scribbled with graffiti and interpreting his own vision: a rock ’n’ roll necklace. Unlike head-banging music, its composition was ultra-subtle, as the eyes slowly registered guitar, drum sticks, musical notes and electric wires. More conservative clients can find a lacy version of the monogram logo in LV diamonds. But one story ran through this eclectic collection: the idea that pieces can be broken up to form different jewels, in an updated and more imaginative version of the historic transforming jewels.

“但威登还是徘徊在出格的边缘”，提及涂鸦包，Bäumer先生如是说。印证他的洞察力的是一条摇滚项链。不像甩头乐那样，当眼睛慢慢地注意到吉他、鼓槌、乐谱和电线的时候，会发现这条摇滚项链的曲风是十分细腻的。更多老主顾能够在LV钻石中发现镂空版本的老花标志。但是这个不拘一格的系列贯穿着同一个主题：每件单品都能分解并重新组合成不同的珠宝。这便是名噪一时的变形珠宝更富想象力的最新版本。

光芒与庆典是卡地亚的故事，就像它为即将到来的双年展所准备的那样。

“It must give an idea of movement,” said Pierre Rainero, the image, style and heritage director at Cartier, to describe the essence of a collection where the most noble necklace seemed to be have a dynamic form pushing it away from its central position.

卡地亚的形象、风格及传承总监Pierre Rainero说，“必须要有一个趋势的概念”。这便是这个系列的精髓，似乎有一种充满活力的形态要把最高贵的项链从中心位置上推开。

Imaginative works included a tiger with emerald eyes sculpted from fossilized wood, and the effect of a jeweled “fountain” spraying upward. The designer, referring to opals, said that he liked “different associations of color,” and he also worked an intricate floral theme by engraving flowers on sapphires.

富于想象力的作品包括一只从石化木上雕刻出来的拥有翡翠眼睛的老虎和一个珠宝“喷泉”向上喷薄的动态画面。提到猫眼石，设计师说他喜欢“不同色彩的混搭”，并且还利用在蓝宝石上雕花的方法打造出一个错综复杂的花之主题。

“The whole collection has now pushed so hard the perfection of the ateliers in subtlety and finesse,” said Mr. Rainero, who has three studios with 60 metal workers. Those numbers of dedicated workers show why haute joaillerie is, in its detail and craftsmanship, in the family of haute couture.

“整个系列现在已经尽量让工作室在细微之处和技巧工艺上做到完美”，Rainero先生谈道。他拥有3个工作室和60个钣金工，这些专业工人通过完美细节和精湛工艺展示了高级珠宝成为高级订制家族一员的实力。