From the Scottish Highlands to high jewellery fantasy, Chanel’s Patrice Leguéreau reveals the glittering virtues of tweed.
Deep underground in Hong Kong’s Central Station, Patrice Leguéreau spotted a young woman in Nike sweats wearing what he assumed to be an imitation of one of his multimillion-dollar, diamond-dotted designs. In French, he pointed out the offending necklace to his companion. Suddenly, the woman turned to him. “Oh, Patrice! What are you doing here?”
Indeed, the aesthetic of Leguéreau’s creations is so fantastical that, out of context, they possess a hint of the surreal. Take the Tweed Royal necklace, the centrepiece of Chanel’s latest high jewellery offering: a yellow gold “woven” bib necklace that took a total of 2400 hours to realise. Set with diamonds and a symphony of 37 oval-cut unheated rubies and finished with a 10.17-carat pear-cut diamond, it can also be detached and worn as a ring.
Unveiled this June in London to honour Gabrielle Chanel’s lifelong love affair with Britain, the 64-piece collection, Tweed de Chanel, is an expansion of the house’s 2020. It was the first to explore the richness of the signature tweed of the brand, realising its litheness and intricacy in precious metals and stones.
Having been fixated on Chanel tweed since his arrival at the house in 2009 , Leguéreau takes a micro view of the layers, weaves and embellishments of the Chanel tweed archive, extruding them into articulated high jewellery pieces that can be disassembled.
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