Autumn 2014


Antique Jewellery


Above The menagerie in the marquee at Berkeley Square. A selection of unusual animal jewels from houses such as Van Cleef and Arpels, Cartier and Mauboussin, Anthea AG Antiques Ltd.


recommends wearing them a few or several at a time for maximum impact, that all-important statement. The way in which you cluster them makes the choice, and the brooches themselves, intensely personal. But then she believes that almost any period piece, care- fully chosen and generally not too fussy, looks good today worn with very simple, well-cut clothes. “Even a huge, naturalis- tic 19th century tremblant corsage orna- ment looks sensational with a clean-cut, simple dress or coat.” She cites Anna Wintour, faultlessly elegant Editor of American Vogue, a devotee of an- tique jewellery, who regularly wears early 19th century rivière necklaces, softening a neckline, echoing the dis- tinctive, crisp lines of her signature bobbed haircut. “When it comes to lat- er 20th century jewellery, says Anthea, including “second-hand,” from recent years, clients look for the reassurance of a brand, and the most iconic designs from the great heritage houses, Cart- ier, Tiffany, Van Cleef & Arpels, the “magic” signatures. A Cartier panther perhaps, a badge of bold femininity from the 40s through the 70s and into the present day, or an Alhambra design from Van Cleef & Arpels, the clover leaf motif so redolent of the 1960s, jet-set glam- our and still going strong. Perhaps it’s the fashion influence, but avant-garde


designer jewellery of the 1960s and 70s suddenly looks right again today. And when it comes to the 60s and


70s, Andrew Grima is the name to conjure with: Grima was the pioneering leader of a new, adventurous, bar- rier-breaking movement and a new generation of de- signer jewellers who raised the jewel to the level of an art form. Grima’s jewellery, audacious, adventurous, revelled in the freedom of the 60s, through an entirely new visual vocabulary that was both futuristic yet naturalistic, or hyper-natural, almost supernatural. Its defining features were rough, textured gold, like bark or moon-rock, crusty, craggy rough gem crystals, and strong, striking silhouettes. Jojo Grima, of Grima, working with their daughter,


Francesca, continues her late husband’s work and perpetuates his legacy, selling both original jewels and modern recre- ations. Francesca Grima is a designer in her own right, blazing her own trail. Jojo attributes the huge resurgence of interest in Grima’s work to the general fashion climate, “The look of the sixties, when the jewels were first designed and conceived, is so much in fashion now.” These are jew- els that appeal to both men and women: Marc Jacobs is known to be a fan, wearing Grima brooches and collars. At the Fair, Grima is showing some of the most sought- after original Grima masterpieces, including two of the “About Time” watches designed by An- drew Grima for Omega in the 1970s; designed to tell the time through a gemstone. Art to wear, and a whole new vision of time through jewels.


23


Left Pyramid watch in white gold set with Aquamarine glass from Andrew Grima’s ‘About Time’ Collection for Omega, 1970. GRIMA.


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