From Dior, the ‘‘Bar en Corolle” bracelet
“Movement.”
“I’ve always liked movement.”
“Fluidity.”
“Very fluid.”
If you had flung open the doors of the various carpeted salons, hotel suites and venerable cultural institutions showing “high jewelry” during couture week (not easy to do, as most were heavily guarded), this is the kind of marketing argot that would’ve wafted out.
Both more expensive and less available than plain-old fine jewelry, the high category is a showcase for exceptionally rare and striking stones, like the pizza-slice-shaped opal used in a necklace at Louis Vuitton (also recalling the “V” of the corporate monogram, noted the division’s director, Hamdi Chatti), or somewhat easier-to-find ones in overwhelming quantity, like the almost 4,700 small diamonds in a butterfly brooch with dangling ballet slippers created by Cindy Chao with Sarah Jessica Parker (“mellifluous movement,” the press release burbled). Yet designers seem determined to make such gems seem as unstructured and informal on their wearer as plastic baubles from a mass-market accessories store. Read more..
