Spotlight on Jewellery: “The Adorned Body” Exhibition at HKPM

A special exhibition at the Hong Kong Palace Museum (HKPM) presents a stunning exploration of French fashion from the 18th to early 20th century. Join me as we dive into the exquisite jewels that define the era’s opulence and refined taste.

Sense of Wander: ★★★☆☆

By showcasing clothing and jewellery, The Adorned Body exhibition offers visitors a glimpse into French fashion, trends, and tastes from the 18th to early 20th century.

HONG KONG — This summer, the Hong Kong Palace Museum (HKPM) unveiled a special exhibition titled The Adorned Body: French Fashion and Jewellery 1770–1910 from the Musée des Arts Décoratifs.

In collaboration with the Musée des Arts Décoratifs (MAD) in Paris, this blockbuster exhibition at the HKPM showcases nearly 400 pieces of French costumes and jewellery from the 18th to early 20th century. It highlights the evolution of fashion in France, illustrating costumes and adornments transformed the wearer’s body and defined their social status.

Though the exhibition’s title includes both “Fashion” and “Jewellery,” the main narratives — whether in the exhibition text or pamphlet — seem to emphasise costumes than jewellery. So, I thought, why not take the advantage of being a jewellery designer and write about the exhibition with a focus on jewellery?

I’ve divided this article into three sections, starting with an overview of jewellery’s role in the evolution of French fashion as outlined by the exhibition. Beyond exploring how jewellery reflects the spirit of the times, I’d also like to highlight some of the intriguing pieces I encountered during my visit.

If you’re ready, let me take you on a tour through The Adorned Body exhibition, with a curated selection of jewels!

Designed by Paul Frédéric Follot around 1920, this aigrette tiara features a central amethyst, complemented by diamonds, enamel, and feathers.

Jewellery & Its Times

The evolution of jewellery in France from the 18th century to the early 20th century is a fascinating story — one that witnessed the intersections of art, culture, and fashion, reflecting the shifting tastes and societal changes of the times.

When discussing French jewellery, one immediately thinks of renowned Maisons like Cartier, Chaumet, and Van Cleef & Arpels, which dominate the high jewellery scene today. However, few people know that the legacy of these houses is deeply rooted in the origins of luxury that took shape in 17th-century France.

During the reign of Louis XIV (reigned 1643-1715), known as the Sun King, the court at Versailles established France as the epicenter of opulence and refined taste. The lavish balls and ceremonies at Versailles set the stage for jewellery that was meant to dazzle.

In the 18th century, jewellery in France became the ultimate symbol of wealth and power, closely tied to the extravagant lifestyle of the French aristocracy. Under Louis XVI (reigned 1774-1792) and the fashion-forward Marie Antoinette, jewellery reached new heights, characterised by intricate Rococo designs and the abundant use of diamonds, pearls, and gemstones.

In the first display case at The Adorned Body exhibition, visitors are offered a glimpse into the wardrobe of French aristocrats: a luxurious dress for women and men’s suit habit à la française, both adorned with intricate embroidery, showcasing the thriving textile industry, particularly the silk production in Lyon, as the demand for fine clothing soared.

Both dating from the 18th century, the floral hairpin on the right is from France, while the earring on the left is from Portugal. Though crafted from silver and more modest materials like chrysoberyl and rock crystal, their opulent design offers a glimpse into the exuberant court fashion of the era.

To complete their look, women wore jewellery such as hairpins, necklaces, corsage ornaments, earrings, and rings. Though the items on display here are crafted from modest materials like silver, chrysoberyl, and rock crystal, their opulent designs provide a window into the lavish court fashion of the era, revealing how such adornments served as symbols of status and influence for their wearers.

With the French Revolution (1789-1799) disrupting the social order, jewellery embraced a more restrained, neoclassical aesthetic. Inspired by the classical antiquities unearthed in Rome and Greece, designs became simpler, featuring clean lines and motifs drawn from ancient art.

This pair of gold earrings, dating to the second half of the 19th century, features a design typical of neoclassical jewellery, incorporating architectural elements from classical buildings and motifs such as rosettes, palmettes, and vases.

On display, we see a selection of neoclassical jewellery adopting motifs borrowed from architectural decorations. These designs are characterised by a high level of symmetry and incorporate elements like rosettes, palmettes, meanders, acanthus leaves, vases, and trophies. Now the focus shifted from merely displaying wealth to expressing a more cultured taste, echoing society’s broader yearning for stability and order after a decade of upheaval.

Jewellery not only reflects the tastes and trends of its time but also serves as a canvas for historical events. For example, a pendant depicts a female figure — an allegory of history — recording events on a shield-like tablet. The scene, carved on sardonyx and likely dating back to antiquity, shows the figure seated on piles of skulls, with more skulls at her feet, and a soldier’s helmet placed above, suggesting that the history being recorded is one of battles, conquests, and death.

This sardonyx cameo, depicting the personification of history, has been partially broken and completed with a low-relief gold foil.

The partly damaged cameo has been covered in repoussé gold sheet and then mounted in gold, illustrating how jewellery serves as a medium that reflects the spirit of its times, bridging the past with its renewed life in the hands of jeweller.

While the French Revolution ushered in a more restrained aesthetic compared to courtly extravagance, Napoleon Bonaparte (reigned 1804-1814) revived lavish, ceremonial style, with jewellery once again becoming a means of asserting political power.

This era also saw the rise of sentimental jewellery, with lockets, cameos, and miniatures becoming popular as tokens of affection. Among the display is a “mourning set” comprising a necklace, earrings, bracelets, and belt buckle — all in black. This set adheres to the strict mourning code of the time, which mandated that only black could be worn during periods of mourning.

The latter half of the 19th century marked a golden age for French jewellery. Known as the Belle Époque (or “Beautiful Era”) in France, jewellery of this period was characterised by elegance and refinement. Designs featured delicate garlands, graceful foliate motifs, and exquisite lace and bow details. Advances in metallurgy and working techniques, particularly the use of platinum, enabled jewellers to create more intricate and lightweight designs.

Crafted in Paris in 1878 by Maison Boucheron, this neck pendant features a fine pearl at its centre, accentuated by delicate enamel work in blue, red, and green.

The early 19th-century linen shawl is displayed alongside earrings, a brooch, and a belt buckle from the same period, arranged to the left.

An intricate diamond brooch by Maison Soufflot Fils from the late 19th century, featuring a floral bouquet design, would have adorned a woman’s bodice with elegance.

In contrast, another diamond piece from same era embraced a symmetrical design, showcasing elegant curves and dangling drapes of diamonds, accentuated by pearl drops. This adds a dynamic touch that epitomises courtly sophistication.

By this time, the expansion of department stores and shopping arcades made clothing and jewellery more accessible to the growing middle class. Jewellery became an essential element to woman’s wardrobe, complementing the era’s soft, flowing silhouettes. This increased accessibility signaled a transformation, establishing jewellery as a valued component of everyday fashion for a wider audience.

This intricate diamond brooch by Maison Soufflot Fils, dating from 1878, features a floral bouquet design and would have adorned a woman’s bodice.

A late-19th century corsage ornament set with diamonds and pearls features the sinuous curves that were popular during the Art Nouveau period (1890–1914).

Jewellery or Art?

At the dawn of the 20th century, Paris was lighted by electricity, its streets buzzed with by the designs of Art Nouveau. The city became a melting pot for artists, musicians, dancers, and writers from across Europe and beyond, sparking new waves of creative expression.

Women draped their sinuous figures in flowing silk dresses and complemented their ensembles with jewellery inspired by the natural world. Among the notable creators of this era is René Lalique (1860-1945).

Lalique’s work is often hailed as a hallmark of the Art Nouveau movement, which revolutionized jewellery design through its focus on naturalism and artistic expression. On display, Lalique’s creations are characterised by sinuous lines, organic shapes, and motifs drawn from nature — including flowers, insects, and mythological creatures, often rendered in enamel and semi-precious stones.

Crafted by René Lalique around 1898, the Siren tiara is emblematic of the jeweller’s artistic style, showcasing the diverse inspirations that fueled his creative expression.

Among the pieces on display, Lalique’s Siren tiara captured my attention. It features a siren depicted with sinuous curves, carrying an oversized drop-shaped opal. Her lower body morphs into a hybrid of insect and feather-like designs that swirl gracefully to the side. Cast in bronze, the tiara exudes a seductive charm, casting a spell on anyone who gazes upon it.

Another highlight is a choker inspired by hawthorn, whose leaves are coloured in pastel-green enamel, accentuated by baroque pearls that simulate the plant’s white, fragrant blossom.

Lalique’s inspiration extended beyond mythological and floral themes to include animals. One notable piece is a pendant featuring a central star sapphire, flanked by two confronting roosters. Their fierce expressions are detailed with blue enamel and diamonds, with feathers appearing to sway in the air.

During the Art Nouveau period, jewellery transcended mere adornment to become a statement of individuality and artistic sensibility, reflecting the broader aesthetic revolution sweeping through French fashion and art.

This “Hawthorns” choker exemplifies René Lalique’s artistry in transforming everyday flora into exquisite jewels.

Created by René Lalique, this “Two Roosters” pendant combines a blend of precious materials like gold and gemstones, with the humble cast iron, neglecting the conventional hierarchy of material value.

Jewellery of Curiosity

For those drawn to pieces that spark curiosity and provoke thought, I’d like to draw your attention to two intriguing items from The Adorned Body exhibition.

First is a skull tie pin, masterfully enhanced with brilliant enamel work. The skull’s eye sockets are cleverly covered with a pair of reading glasses, the lenses set with rose-cut diamonds.

Between its imperfect teeth, it clenches a cigarette, adding a rebellious, almost punk vibe to the design, as if defiantly challenging mainstream ideology. The execution of this skull, with its eclectic mix of materials, is sure to bring a smile to anyone who lays eyes on it.

The skull motif itself serves as a poignant reminder of the passage of time and the fleeting nature of life, embodying the concept of memento mori, a Latin phrase meaning “remember that you will die.”

Though the origin and exact date of this tie pin are unclear (other than being a bequest from Baroness Mathilde de Rothschild made in 1927), it’s clear that this skull pin could easily find a place in a 21st-century wardrobe.

A bequest from Baroness Mathilde de Rothschild (1832-1924), this “Skull” tiepin reveals the type of playful jewellery found in the Baroness’s wardrobe.

The second piece is the Sun & Moon tie pin. Crafted by Maison Boucheron around 1880, this tie pin features a disc carved from carnelian — white on one side and red on the other. On the white side, a young man representing the sun is depicted, while the reverse side showcases a moon in orange-red carnelian. All this intricate detail, contained within the size of a thumb, showcases the remarkable artistry in gemstone carving.

This piece is also my favourite in the exhibition, as its subject and execution evoke a sense of wonder and our deep, universal longing for the cosmos.

Maison Boucheron’s thumb-sized “Sun & Moon” tie pin highlights the exceptional craftsmanship in gemstone carving.

“… jewellery reflects the spirit of its time and, at times, transcends it, resonating with stories and sentiments from the future.”

From opulent diamond-set pieces to the artistic creations of jewellers like René Lalique, jewellery has always served multiple purposes. Beyond enhancing one’s appearance, it has been a statement of political and social status, as well as a reflection of individual taste and fashion.

While centuries have passed since the creation of many items on display, the legacy of past eras — from courtly opulence and neoclassical restraint to romantic sentimentality and Art Nouveau artistry — remains deeply embedded in the culture of French jewellery, as well as that of neighbouring European nations.

Jewellery’s evolution not only mirrors a nation’s shifting tastes and social dynamics but continually adapts and reinterprets itself in response to broader cultural, societal, and political movements. Ultimately, jewellery reflects the spirit of its time and, at times, transcends it, resonating with stories and sentiments from the future.

The Adorned Body: French Fashion and Jewellery 1770–1910 from the Musée des Arts Décoratifs is on view at the Hong Kong Palace Museum until October 14, 2024.