They are in the tradition of the old stone hunters, like the adventurers who went to Egypt to find King Tut.” This collection is also a tour de force on the part of Vuitton’s stone buyers Amfitheatrof says that working with them is “a dream come true. The expertise to experiment with the cuts of the stones creates an effect of “a shower of diamonds.” She describes the assembling of the multiple diamonds on one necklace, the hours of consideration it took to see how the light from them would play from each side of the wearer’s profile. How each piece will look while being worn-on a mountain, across a dinner table, on a SpaceX trip to Mars-is crucial to Amfitheatrof. Rare rubies, tourmalines, and sapphires allowed Amfitheatrof to 'paint in stones' Her designs are armed with her belief in the wonders of the universe and the power of the artisans at the Vuitton atelier on Place Vendôme where, she says, “everything is possible.” The chapters’ organizing principles are a product of Amfitheatrof’s crystal clear vision for Vuitton and her desire to create a strong, distinct “jewelry vocabulary” for the house-but this should not lead you to assume that she is rigid in her approach. Yellow sapphires star in Soleils, the standout piece being a multi-tier necklace engineered to project volume and lightness at the same time, and the Astre Rouge chapter turns on the aforementioned 8-carat ruby. “We use a lot of incredible opals,” Amfitheatrof says. (Any potential client hung up on the myth that opals are bad luck should note that this has been debunked countless times: as a hoax originated by Cleopatra, so she could hoard the Roman Empire’s best stones as a misreading of a scene in a 19th-century novel or, most likely, as a conspiracy begun by 19th-century diamond dealers to squash the opal’s burgeoning popularity. Black opals are central to the plot in Céleste, most spectacularly in a constellation-like diamond and emerald pendant necklace.
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