This set is a compelling expression of Chaumet’s new direction. The brooch and matching ear clips are composed of plaques of deep green, banded malachite, set within deliberately rough-worked gold mounts and accented with brilliant-cut diamonds. The new style was met with immediate acclaim, not least because the maison had served as court jeweller for almost two centuries—an illustrious legacy that lent the innovative jewellery of the 1970s exceptional authority and cachet.

L'Arcade

With the opening of L’Arcade on 17 June 1970, Chaumet demonstrated a vision that was both forward-looking and unconventional for its time. The space was open and inviting, defined by Plexiglas columns, Op Art carpets by Victor Vasarely, and a soundtrack that included music by David Bowie. Hyper-modern jewellery was presented through live models, film screens, spotlights and the latest audiovisual technologies and visitors were encouraged to linger, while sales advice was offered only upon request. Artistic director René Morin introduced his concept of “wild gold”: 18-carat gold that was hammered, scratched and inlaid with hard stones.

Hard Stone Craze

During the 1970s, the so-called Hard Stone Craze marked a renewed appreciation of colour, material and form. Jewellery designers increasingly embraced natural stones such as malachite, agate, coral, lapis lazuli and turquoise, often combined with diamonds and sapphires. Rarity alone was no longer paramount; visual and tactile impact took precedence.
Cabochons, irregular forms and contrasting textures highlighted the intrinsic beauty of the materials. Wild gold, frequently left rough or hammer-finished, reinforced the earthy, honest character of these designs. The style reflected the spirit of the age: a growing emphasis on individuality, material and process, and a conscious departure from traditional notions of luxury. Jewellery became larger and more restrained in conception, with strong forms and carefully chosen stones lending the designs a calm, almost sculptural presence.
Through the work of René Morin and, from 1976 onwards, the appointment of Pierre Sterlé as exclusive designer, Chaumet translated the Hard Stone Craze into jewellery that was both modern and measured, uniting raw textures with refined proportions. This demi-parure is a vivid—and eminently wearable—example of that synthesis.

On a Global Stage

The innovative concept and avant-garde vision of L’Arcade enabled Chaumet to reach a far broader audience. From 1973 onwards, London and Brussels were among the first cities to embrace the maison’s modern approach through fully redesigned boutiques. Geneva, Tokyo and Hong Kong soon followed, signalling Chaumet’s expanding international outlook in the second half of the 1970s—particularly towards Asia.
Overall, the fifteen years between 1970 and 1985 represent an exceptionally creative and successful period for Maison Chaumet. The order books feature the names of numerous prominent clients, ranging from Grace Kelly and Elizabeth Taylor to Mobutu Sese Seko and Hassan II.

Chaumet: A French History

Chaumet was founded two hundred and forty-five years ago by Marie-Étienne Nitot, a pupil of Aubert, who was then jeweller to Queen Marie-Antoinette. The house, initially known as Nitot, flourished in the aftermath of the French Revolution of 1789 and in 1804 became official jeweller to Napoleon I. Nitot designed the jewels for Napoleon’s marriage to Joséphine de Beauharnais, and later for his union with Marie Louise of Austria. He also supplied the diadem commissioned to celebrate the birth of their son, as well as the hilt of Napoleon’s coronation sword. For Napoleon, jewellery was more than personal adornment; it functioned as a strategic instrument in reasserting France as the centre of luxury and fashion.

Romantic Jewellery

Following Nitot’s death in 1809, his son François-Regnault Nitot continued the business on the Place Vendôme, making the maison the first jewellery house on the square, at number 15—now the site of the Ritz Hotel. After the fall of the Empire in 1815 and Napoleon’s exile, François Nitot, a committed royalist, withdrew from the enterprise and sold it to his foreman, Jean-Baptiste Fossin (1786–1848). Father and son Fossin became known for their elegant Romantic jewellery. After the French Revolution of 1848, activity in France declined, prompting the establishment of a London boutique with a workshop entrusted to Jean-Valentin Morel (1794–1860), assisted by his son Prosper (born 1825). They attracted a prestigious clientele, including Queen Victoria, who granted Jean-Valentin Morel a royal warrant.

Joseph Chaumet

Prosper’s son-in-law, Joseph Chaumet, gave his name to the workshop in 1885, marking the definitive transition from Nitot to Maison Chaumet. In 1907, the ateliers and boutique opened at 12 Place Vendôme, where they remain to this day.

Imperial Patrons and Tiaras

Advances in transport at the beginning of the twentieth century significantly expanded Chaumet’s reach. A royal clientele that already included Victorian monarchs was joined by European aristocrats and Hollywood royalty, as well as patrons from China, Japan, Russia and India. Indian princes—among them the Maharajas of Baroda and Indore—placed substantial commissions, bringing their gemstones to the Place Vendôme to be set in light platinum mounts. These diverse cultures proved an inexhaustible source of inspiration for the maison. Joseph Chaumet remained director until 1928 and emerged as the undisputed master of the Belle Époque. Under his leadership, head ornaments, aigrettes and tiaras became a Chaumet speciality; the house created no fewer than 2,000 of them.

By continually reinventing itself, the prestigious Parisian jewellery house founded in 1780 continues to thrive on the Place Vendôme today. It is now part of the LVMH group.