Gucci’s third high jewellery collection takes a world tour

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Gucci’s third high jewellery collection takes a world tour
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Creative director Alessandro Michele goes on a fantastical Grand Tour for Gucci\u2019s third high jewellery collection, \u2018Hortus Deliciarum\u2019. Beginning in the mid-19th century and tracing a route through to the 1970s, the collection begins with Roman landscapes and the brilliance of India\u2019s architecture before travelling through to ancient Eastern and...

The third high jewellery collection from Gucci creative director Alessandro Michele takes inspiration from cultural movements around the world

Creative director Alessandro Michele goes on a fantastical Grand Tour for Gucci’s third high jewellery collection, ‘Hortus Deliciarum’. Beginning in the mid-19th century and tracing a route through to the 1970s, the collection begins with Roman landscapes and the brilliance of India’s architecture before travelling through to ancient Eastern and Western traditions, finally arriving in the New World with its nods to the beginning of the modernist movement.

The collection is divided into five themes, each of which takes its cue from a different era. The first part looks to the Grand Tour, the rite of passage for Europeans in the 19th century, whose bid for culture and beauty is reflected in jewels that depict cultural landmarks from Rome in miniature form.

Colour also defines the second part of the collection, which is inspired by those who travel to India, their experience of the architecture and verdant gardens married with the bold silks of traditional Mogul garments, creating joyful and vivid high jewellery. Gold threaded with diamonds and enamel make for textured bracelets, while a necklace in a rainbow of coloured stones is a brilliant centrepiece.

The third theme interprets ancient Greek myths in its celebration of the pearl, with white, cream and black pearls a milky foil for vivid topaz in earrings, brooches and pendants. It is an arresting juxtaposition that sets the tone for the fourth theme, nodding to the modernist codes of the 1930s and 1940s in a play with geometry and sharp architectural forms.

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