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Baccarat, the Luxor collection

5 January 2015

Cristina Morozzi

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The Luxor collection, presented in 2014 on occasion of the celebrations for the 250th anniversary of the Maison, revisits the first Baccarat jewellery of 1933, created by the artistic director Georges Chevalier and inspired by the jewels of the Pharaohs, found in Tutankhamen’s tomb. Elie Top, refined jewellery designer, pays homage to Chevalier, supported by the skill of master craftsmen, with the new Luxor parure, consisting of a bib necklace, convertible into tiara, ring and earrings.

Parure_Baccarat_Louxor_Vaneson
Earing_Baccarat_Luxor_Vaneson

The three pieces play on the contrast between the base in transparent crystal and the cusps of ruby crystal with a diamond cut. The set, produced in a limited edition of only five copies, requires a special craftsmanship. The necklace alone requires 800 hours to be made. Each piece is carved by the Master of Arts Serge Vaneson, one of only 78 craftsmen in France that have the right to use the Master of Arts title.

baccarat-quote
Ring_Baccarat_Luxor_Vaneson

The Luxor collection, presented in 2014 on occasion of the celebrations for the 250th anniversary of the Maison, revisits the first Baccarat jewellery of 1933, created by the artistic director Georges Chevalier and inspired by the jewels of the Pharaohs, found in Tutankhamen’s tomb. Elie Top, refined jewellery designer, pays homage to Chevalier, supported by the skill of master craftsmen, with the new Luxor parure, consisting of a bib necklace, convertible into tiara, ring and earrings.
The three pieces play on the contrast between the base in transparent crystal and the cusps of ruby crystal with a diamond cut. The set, produced in a limited edition of only five copies, requires a special craftsmanship. The necklace alone requires 800 hours to be made. Each piece is carved by the Master of Arts Serge Vaneson, one of only 78 craftsmen in France that have the right to use the Master of Arts title.

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The Moodboarders is a glance into the design world, which, in all of its facets, captures the extraordinary even within the routine. It is a measure of the times. It is an antenna sensitive enough to pick-up on budding trends, emerging talents and neglected aesthetics. Instead of essays, we use brief tales to tune into the rhythm of our world. We travelled for a year without stopping, and seeing as the memory of this journey has not faded, we have chosen to edit a printed copy. We eliminated anything episodic, ephemeral or fading, maintaining a variety of articles that flow, without losing the element of surprise, the events caught taking place, and the creations having just bloomed.