Characteristic of an era rich in revivals, the Phénicia set features numerous references. It highlights the aesthetic renewal of evening jewelry, as exemplified by the necklace suggesting an inverted tiara. The pairing of emeralds and diamonds recalls color combinations often seen in in the 1920s, while the bracelet’s treatment evokes Art Deco. The composition of the necklace—colored stones set against a pavé diamond ground—also echoes certain pieces from the 1930s. Far from strict historicism, this set displays a rich variety of influences, reflecting the Maison’s approach at the time. 

Since 1906, the vitality of flora has been one of the Maison’s primary sources of inspiration, as seen in the Gaëlle and Artémis parures. Following the long necklaces of the 1970s, shorter necklaces such as this one, inspired by torques, returned to fashion. The Artémis necklace is composed of stylized flowers, some of which, at the front, are set with a diamond in their center. These large mirror-polished yellow gold motifs, characteristic of the 1990s, are also revealed on the earrings.

The earrings and the central portion of the necklace of the Gaëlle set are adorned with sculpted corollas in chalcedony and lapis lazuli, which bring volume as they contrast with the diamond-set background. Echoing this motif, the same floral design—this time in gold—is worked in relief along the rest of the neckline, combining the austerity of the metal with the brilliance of gemstones.

Throughout its history, the Maison has regularly interpreted figures of birds. In 1954, it launched la boutique, a line of yellow gold pieces designed for everyday wear and featuring cartoon-inspired animal clips, which have since become emblematic of this concept. The three birds depicted here are more stylized, reflecting the aesthetic evolution of the concept. Thanks to the use of glyptics—the art of engraving gemstones—the colored stones gain volume, enhanced by the brilliance of yellow gold. These birds, peacefully perched on their onyx branch or seemingly about to peck, embody a benevolent vision of fauna that is dear to Van Cleef & Arpels. 

The exhibition highlights another universe to which the Maison is particularly attached: dance. Van Cleef & Arpels created the first Dancer clips in 1941, inaugurating a tradition of feminine figures. Their appearance has gradually evolved, sometimes incorporating other sources of inspiration such as couture. This 1993 ballerina wears a tutu rendered in delicate lacework, achieved through the expanded gold mesh technique. This effect recalls the tulle of traditional costumes, while bringing movement that accentuates the silhouette’s sense of lightness. Diamonds—in the form of a headdress, belt and bouquet—add brilliance and structure to the pose.

These creations pull from the Maison’s heritage while incorporating the graphic and chromatic codes of the 1990s. The wood references the Touch Wood pieces of the 1910s, associated with hope during wartime. Their symbolism of luck evokes a lasting source of inspiration for the Maison that has often guided its path. 

Finally, the Duo parure in white gold and diamonds attests to Van Cleef & Arpels’ enduring fascination with the vitality of nature. It offers a naturalistic interpretation of flora that echoes the jewelry of the 18th and 19th centuries. While precious metal work renders the delicacy of petals, their asymmetry brings volume that evokes a blooming flower. Certain corollas appear to fold gently under a light breeze. Created in 1999, this set anticipates the renewed prominence of white jewelry in the 2000s.

In keeping with the aesthetic codes of late 20th-century decorative arts, these creations are distinguished by their graphic forms and vibrant tones. They also reflect Van Cleef & Arpels’ perspective on its own heritage.