珠寶與藝術電影相遇
寶格麗與藝術電影之間的連結一直有著密不可分的關係，欣賞寶格麗珠寶往往就像翻閱一部精彩的電影史，能清楚可見每一年代經典女星是如何在電影藝術中留下美麗倩影。而最蓬勃時期，便是義大利於50至60年代的「甜蜜生活」年代，寶格麗吸引了各界名流的目光，這一切都須歸功於活躍的義大利喜劇以及美國影業開始在羅馬拍攝喜劇與製作耗費鉅資的史詩電影，造就了義大利最大影視製作基地——擁有「台伯河上的好萊塢」美譽的電影城（Cinecittà）。《羅馬假期》與《甜蜜生活》等經典名作，讓「永恆之城」在人們心中留下不可磨滅的深刻印象，成為一生中至少要朝聖一次的神奇之地。除此之外，伊莉莎白泰勒（Elizabeth Taylor）、奧黛麗赫本（Audrey Hepburn）、英格麗褒曼（Ingrid Bergman）、葛麗絲凱莉（Grace Kelly）、艾妮塔安格寶（Anita Ekberg）等眾多明星，也曾於當時造訪康多提大道 （Via Condotti）上的寶格麗總店，無論是在銀光幕前或幕後，我們都能見寶格麗與電影所譜出的一段段美麗故事。
寶格麗先前以經典電影為主軸，於台北101舉辦古董珠寶展，特別展示了品牌Heritage典藏系列獨一無二的珍稀作品。展出從過去到現在，電影明星曾經擁有或配戴過的 27 件稀世珍品，讓喜愛電影藝術與珠寶作品的貴客宛如走入如夢似幻的銀幕情節中，感受電影世界的魔幻魅力。
When Jewelry Encounters Art Movies
There’s always a bond between Bvlgari and art movies. The appreciation of Bvlgari jewels is like browsing through the extraordinary history of movies, and people can clearly watch how the classic actresses left their beauty in the art movies. The most prosperous period of movies was in Italy during the 1950s and the 1960s, the period of “La Dolce Vita”. At that time, Bvlgari attracted attention from celebrities worldwide. Thanks to the most prosperous years of Italian comedies as well as the comedies and epic historical drama films shot in Rome and produced by the American companies under vest investment, the largest film production base in Italy was the Cinecittà, which was described as “Hollywood on the Tiber”. The classic movies, such as Roman Holiday and La Dolce Vita have impressed people with unforgettable memories, and the Eternal City becomes a must-go destination to visit in the lifetime. Moreover, a lot of actresses ever visited the headquarter of Bvlgari on the Via Condotti, such as Elizabeth Taylor, Audrey Hepburn, Ingrid Bergman, Grace Kelly, Anita Ekberg, etc. Whether on the stage or behind the scene, we all can see the beautiful stories written by Bvlgari and movies.
Recently at Taipei 101, Bvlgari held an antique jewelry exhibition that was themed with classic movies and displaying its unique and precious Heritage collection, including 27 pieces of treasure jewelry that were ever owned or worn by movie stars in the past and at present. When guests who love the art of movies as well as jewelry artworks visited the show, they were led to the dream-like movie scenes that embrace them with magic charm in the world of movies.
時間 自然 愛情
「時間、自然、愛情」此三大元素，就像是經典印記牢牢的刻劃在每一年代裡 Van Cleef & Arpels 梵克雅寶的創作當中，品牌於是以此為主軸，於義大利米蘭的米蘭王宮舉辦了《Van Cleef & Arpels 梵克雅寶: Time, Nature, Love 時間、自然與愛情》 展覽，預計將展至2020年2月23日，一共搜羅逾400件世家自1906年面世以來創作的珠寶傑作、腕錶與珍稀精品，這也是Van Cleef & Arpels 梵克雅寶的創意國度首次在義大利亮相。除了品牌珍藏的珍稀傑作之外，更有由私人收藏借出的精品，將與象徵創作過程初始的典藏文件、手繪草圖及粉彩設計一同展出。
本次展覽由米蘭市政府文化部 （Municipality of Milan Cultura） 及米蘭王宮 （Palazzo Reale） 主辦，Van Cleef & Arpels 梵克雅寶與柯羅尼藝術手工藝基金會 （Fondazione Cologni） 攜手製作，並由米蘭理工大學珠寶設計系教授兼維琴察珠寶博物館 （Vicenza Museum of Jewelry） 總監 Alba Cappellieri 策展。 Alba Cappellieri 以義大利作家伊塔羅・卡爾維諾 （Italo Calvino）的《給下一 輪太平盛世的備忘錄》（Six Memos for the Next Millennium） 為藍本，從中粹選出數項概念，藉此演繹世家的作品及其與時間的關係。展覽的第一部分以時間為主題，綿延逾10個展廳，全部均以20世紀的特色象徵為焦點。首間展廳向巴黎致意，隨後則以異國情調 （Exoticism）,以及卡爾維諾在書中提出的五大價值:輕、快、顯、準、繁 （Lightness, Quickness, Visibility, Exactitude, Multiplicity）為主題，其餘的展廳則突顯珠寶與其他藝術領域的交集，一共包括舞蹈、時裝及建築。
展覽圍繞三大主題:時間、自然與愛情，透過美國設計師 Johanna Grawunder 創作的當代場景，與米蘭王宮的王子殿 （Princes’ Apartment）及多個繡帷室 （Tapestry Rooms） 譜寫大膽的對話。 展覽的中段以愛情為主題，展出的作品均曾作為愛的信物或贈禮，象徵20世紀最傳奇的戀曲，藉此體現情感的力量。最後3個展廳則透過園藝和動植物，向大自然致敬。珠寶藝術向來與時間擁有密不可分的關係，就像是同時結合了永恆不朽與瞬息萬變，同時又必須透過創作取得傳統與時尚之間的悠久平衡。此展覽充分演繹了20世紀這個象徵變動的時代，藉由體現雋永的美學價值與轉瞬即逝的迷人力量，展演 Van Cleef & Arpels 梵克雅寶的核心精神價值。
Time Nature Love
“Time, Nature, and Love” are the three major elements that made up the works of Van Cleef & Arpels, the classic brand has deeply impressed each generation. Therefore, themed with the elements, the exhibition Van Cleef & Arpels: Time, Nature, Love held at the Palazzo Reale Milano in Milan, Italy will last until February 23, 2020, with more than 400 pieces of works, these jewelry masterpieces, watches, and treasure boutique accessories made ever since 1906; it’s also the first show in Italy of Van Cleef & Arpels’ world of creativity. Besides the brand’s treasured masterpieces, there are a private collections of boutiques displayed along with the collection documents that record the origin and process of creation, hand-drawn draft, and pastel design.
The exhibition is hosted by the Municipality of Milan Cultura and Palazzo Reale, Van Cleef & Arpels and Fondazione Cologni (Cologni Foundation of Trades of Art) jointly take in charge of the design; moreover, Alba Cappellieri is the curator, he is the professors of the Department of Jewelry Design at the Politecnico di Milano and the Director of Vicenza Museum of Jewelry. Alba Cappellieri uses the Six Memos for the Next Millennium by the Italian author Italo Calvino as the blueprint, he abstracts several concepts for interpreting the relationship between the designer’s works and the time. The 1st section of the exhibition is themed with time, it uses the space of 10 exhibition halls, and the focus falls on the characteristics symbols in the 20th century. The 1st exhibition hall salutes Paris as well as uses Exoticism and the five values proposed by Calvino in the books, Lightness, Quickness, Visibility, Exactitude, Multiplicity as the themes. The other exhibition halls highlight the intersection of jewelry and other fields of arts, including dance, apparel fashion, and architecture.
The exhibition embraces the 3 major themes: time, nature, and love. Through the contemporary scenes created by the American designer Johanna Grawunder as well as the courageous conversations between Princes’ Apartment and multiple Tapestry Rooms. The middle section of the exhibition is themed with love, the works displayed are the items ever been used as tokens or gifts to symbolize the best legend of romance in the 20th century; as a result, the works present the power of love. The last 3 exhibition halls use horticulture, animals, and plants to pay tribute to nature. There’s always a bond between the jewelry art and time; it’s not only similar to the combination of eternity and swiftness but also an everlasting balance between tradition and fashion through creations. The exhibition has fully interpreted the fast-changing time in the 20th century; it’s a presentation of meaningful aesthetic value and the attraction of swiftness showing the core spirit of Van Cleef & Arpels.
時之結晶
卡地亞舉辦高級珠寶展時，即使是全新系列發表，往往喜愛同時結合古董珠寶一起展出，讓觀者能鑑古知今，依循品牌過往蘊藏在設計裡的歷史脈絡，進而發現現代作品是如何在傳統與當代之間去得平衡，也因為卡地亞懂得傾聽時代聲音，於是才能創作出獨有的美學品味。關於紀錄過往足跡，卡地亞甚至於1970年代時卡下定決心，要蒐集作品並加以典藏，作為品牌歷史以及創作藝術發展的證明。廣蒐珠寶、鐘錶等有價值的作品，於1983年正式創設「卡地亞典藏」。以1860年代至1990年代打造的作品，構成如今的「卡地亞典藏」。這些典藏作品，不僅是卡地亞品牌超過170年歷史的資料文物，更是足以作為追溯19世紀末起，珠寶飾品藝術與社會進化廣泛歷史的資料，如此多采多姿的廣角範圍，映照出品牌長遠的創作歷史。目前擁有超過3000件收藏品的「卡地亞典藏」，引來世界各地美術館的熱切注目。自從1989年於巴黎小皇宮美術館首次舉辦大規模展覽會之後，從「卡地亞典藏」系列中被選出的作品，曾在紐約大都會藝術博物館、倫敦大英博物館、莫斯科克里姆林宮、北京故宮博物院、東京國立博物館表慶館、巴黎小皇宮美術館等世界知名的文化展覽機構展出。
於月前卡地亞在東京舉辦了一場名為「卡地亞，時之結晶」展覽，以「時間」為主軸，從「色彩與素材變幻」、「型態與設計」、「萬物好奇心」等三個視角出發。焦點放在1970年代後的設計作品，這是過往從未被置於展示重點的部分，為卡地亞在世界展覽上的新硎初試。展覽共展出超過300件作品，並且與過往歷史性作品「卡地亞典藏系列」一同展出。會場佈置是由杉本博司與榊田倫之的新素材研究所負責設計。基於「舊有素材才能創造出嶄新作品」的理念，融合傳統工匠技法與最新技術，意識「時」的展示空間，同時提供全新的觀賞體驗。藉由這些作品，我們能夠自由地來回穿梭於過去、現在和未來的時間界線，探索隱藏在素材之中的可能性；於色彩、線條和型態上，既承繼了傳統又屢屢在珠寶飾品界吹起新的風潮，讓眾人徜徉於充滿想像的美麗境地。
Crystallization of Time
Whenever Cartier holds luxurious jewelry exhibitions, including the new product launches, the antique jewelry will be displayed all together to make the visitors appreciate historical and modern works at the same time; by following the historical context hidden behind the design, people can find how the modern works balance the traditional and contemporary design. Cartier has realized the requirements of different generations, its works are made with unique tastes of esthetics consequently. Regarding the records of its progress and starting from the 1970s, Cartier decided to make a collection of works for the archive as evidence of the brand history and the development of creative arts. The brand has collected valuable works, including jewelry and watches, and the Cartier Collection was officially set up in 1983 and made up with the works created from the 1860s to 1990s. These archived works are not only the historical artifacts of Cartier’s more than 170 years of history but also the information of the history dating back to the late 19 centuries, including the art of jewelry accessories and social evolution; a wide rage filled with versatility mirror the brand’s long history of creation. At present, the Cartier Collection with more than 3,000 pieces of works has drawn attention from museums of art around the world. Ever since 1989 the first large-scale exhibition held in Petit Palais, Paris, the selected works of “Cartier Collection” has been exhibited in the world-famous cultural exhibition halls, including the Metropolitan Museum of Art, the British Museum, the Moscow Kremlin, the Palace Museum in Beijing, the Tokyo National Museum Kyokeikan, and Petit Palais.
Last month in Tokyo, Cartier held an exhibition called Cartier, Crystallization of Time, which was themed with “time” and made up of the three perspectives, “Material Transformation and Colors”, “Forms and Designs”, and “Universal Curiosity” with the focus on the works of design after the 1970s. The exhibition was Cartier’s new trial of world exhibition to present its works that have never been the core display. There were more than 300 pieces of works presented with the works of historical “Collection Cartier”. As to the exhibition decoration, it was designed by the New Material Research Laboratory (NMRL), which is founded by Hiroshi Sugimoto and Tomoyuki Sakakida. Based on the concept “Brand-new works can be created by using only the existing material” as well as the integration of traditional craft technique and the most updated technology, the space of display is for the awareness of “time”, and it provides a brand-new experience of appreciation. Through these works, we can go back and forth beyond the timelines between the past, the present, and the future to explore the possibilities behind the materials; regarding colors, lines, and forms, the heritage tradition has once again started a new fashion in the world of jewelry accessories for people to indulge in the beautiful wonderland filled with imagination.