BEADS OF GLORY

 How a humble supporting act stepped into the starring role in the land of gold. Kenneth Goh reports from Nice, France 

I’m standing at the top of a hill facing the beautiful vista of the French Riviera. Expansive (and expensive) views of this famous coastline stretch out far as the eye can see— and then some. The calm turquoise blue ocean is littered with superyachts and the odd speedboat crossing and breaking little white waves across this blue expanse. It’s all very chic and idyllic. And then my view goes downwards into the home of late French fashion designer, Pierre Cardin. Called Palais Bulles, it looks like a mass of pink rabbit holes clumped together in odd shapes and sizes, spread out across the side of a hill.

Inside this pink circular palace of tunnels and rooms, almost like a little Hobbit Land, Van Cleef & Arpels (VCA) have created a night of splendour for the relaunch of their iconic range of jewels, the Perlée. The reason for the choice of venue is clear— the circular enclave of tiny circular rooms gives space-age Barbarella vibes which tie in with the golden beads that form the Perlée. Aiming to be as iconic as the brand’s Alhambra four-leaf clover design, the modern versions of Perlée come combined with diamonds, precious stones such as rubies, emeralds and sapphires, and materials such as coral, onyx and mother-ofpearl. They are fun, modern yet feminine, which is in keeping with VCA’s design aesthetic.