Plants, animals and female bodies in miniature combined with flowing lines – it was around 1900, that the boundaries between jewellery and sculpture began to blur. This new visual language marked a turning point in the art of jewellery. While goldsmiths had previously primarily drawn inspiration from history, entirely new approaches to design emerged towards the end of the 19th century. One of the most important pioneers of this development was René Lalique.
In 1876, Lalique began his training with the renowned Parisian jeweller and goldsmith Louis Aucoc. After spending two years in England, he worked as an independent designer for prestigious houses such as Jacta, Boucheron, Cartier and Gariod. He subsequently opened his own atelier in Paris.
In search of a new aesthetic, Lalique turned to nature. Plants, insects and the female figure became central motifs in his designs. His choice of materials was equally innovative: alongside gold and diamonds, he used semi-precious stones, pearls, glass, horn, ivory and enamel. The value of his jewellery therefore lay not only in the materials he used, but above all in the exceptional craftsmanship and artistic design.
Lalique’s jewellery was particularly admired by confident and unconventional women. Among his most famous clients was the actress Sarah Bernhardt, one of the most flamboyant personalities of her time. Among the items Lalique designed for her was an opulent headdress.
The 1900 World’s Fair in Paris was considered the high point of his career. Here, the artist presented his work to a broad international audience. This moment was impressively captured by Félix Vallotton in a woodcut.
