{"id":37244,"date":"2024-07-15T15:40:27","date_gmt":"2024-07-15T14:40:27","guid":{"rendered":"https:\/\/thefrenchjewelrypost.com\/?post_type=mon-agenda&p=37244"},"modified":"2026-02-04T20:49:32","modified_gmt":"2026-02-04T19:49:32","slug":"jewelry-and-contemporary-design-at-the-museum-of-fine-arts-paris","status":"publish","type":"mon-agenda","link":"https:\/\/thefrenchjewelrypost.com\/en\/mon-agenda\/jewelry-and-contemporary-design-at-the-museum-of-fine-arts-paris\/","title":{"rendered":"Jewelry in dialogue with contemporary design, at the Mus\u00e9e des Arts D\u00e9coratifs (Paris)"},"content":{"rendered":"

One hundred jewels have emerged from the storerooms to join the permanent collections in the contemporary design wing of the Pavillon de Marsan for a few weeks. A guided tour.<\/p>\n

By Sandrine Merle.<\/p>\n

 <\/p>\n

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The curators of the various departments of the Mus\u00e9e des Arts D\u00e9coratifs did not adopt a random approach in spreading their treasures in the 9 rooms spread over the 5 floors of the Pavillon de Marsan. But neither did they systematically opt for thematic integration. Together, they have woven links and correspondences with contemporary design based on free associations. Here are just a few of them.<\/p>\n

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7 reasons to go to the mus\u00e9e des Arts d\u00e9coratifs\u00a0<\/a><\/p>\n

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Level 5<\/p>\n

In the introductory room<\/strong><\/p>\n

Twelve brooches and twelve rings by Jean Despr\u00e9s are part of this room dedicated to Streamline, a 1930s American design movement inspired by the ocean liner. They also refer to mechanics, machines and speed (Despr\u00e9s designed airplane engines during the First World War), and find numerous echoes. In Marc Newson’s 80s furniture, made of riveted aluminum sheets evoking a carlingue, or in Olivier Rousteing’s two Balmain carriage looks. Rousteing is fascinated by the United States, just like the founder, who was an excellent ambassador for French culture across the Atlantic.<\/p>\n

 <\/p>\n

In the “Memphis” room<\/strong><\/p>\n

“We wanted to show that Ettore Sottsass’s jewelry predates by 10 or 20 years the Memphis movement he founded in 1981,” explains Mathieu Rousset-Perrier, curator of the Middle Ages, Renaissance and Jewelry collections. His optimistic vocabulary (bright colors, playful, totemic shapes) can be found in architectural furniture such as Michele De Lucchi’s First chair, Michael Graves’ blue lacquered wood dressing table, inspired by New York skyscrapers, and Fred Sathal’s hairy gorilla dress from the 90s.<\/p>\n

 <\/p>\n

In the “R\u00eaves et Fantaisies” room<\/strong><\/p>\n

Buttons and brooches in Swarovski crystals by Roger Jean-Pierre, one of the most important post-war paruriers, fit in perfectly with the theatrical, dreamlike and mixed-race works presented here. They respond to works by Emilio Terry, Janine Janet, Campana, Jonathan Creten (with a mirror featuring bizarre seaweed motifs) and St\u00e9phane Rolland. The latter’s dress, in gold lam\u00e9 cloqu\u00e9 fabric with gold leaf resin applications, responds to Daniel Roseberry’s contemporary horned dress for Schiaparelli. A designer with whom Roger Jean-Pierre made his debut in the ’30s.<\/p>\n

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Level 6<\/p>\n

In the “Avatars of the vase” room<\/strong><\/p>\n

Here’s one of the rare thematic dialogues around the vase. The Australian Carlier Makigawa has worked this motif with whitened silver structures, mounted as necklaces. And we find it again on Issy Miyak\u00e9’s dress, in the folds of an Ingres painting-print: a naked woman holds a jar pouring water.<\/p>\n

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On level 8<\/p>\n

In the Jean Prouv\u00e9 room<\/strong>
\nJean Prouv\u00e9’s recreation of a student room in Antony’s Cit\u00e9 Universitaire at the end of the 1950s houses six pendants by designer Jean Gar\u00e7on for Dinh Van and Pierre Cardin. For the latter, he created the “masculine heart” and the “feminine heart”, one flat and geometric, cut out of a square, the other all curves and expressive volumes. “We saw it as the erotic dream of a student dressed in a suede Herm\u00e8s jacket-suit, the men’s uniform in force until the 1970s”, Mathieu Rousset-Perrier laughs.<\/p>\n

 <\/p>\n

In the Charlotte Perriand room<\/strong><\/p>\n

It’s all happening in a dining room with integrated kitchen, based on Charlotte Perriand’s flagship Cit\u00e9 radieuse project in Marseille. The whimsy and brilliance of the chopped-lines jewelry of her contemporary Jean Lur\u00e7at (known for his tapestries with a revisited medieval atmosphere) provides a counterpoint to this “decorative art without decor”. “We pay tribute to their friendship: it turned out in retrospect that these two UAM members were close, shared the same political ideas and went to Moscow together. Here, affinities are also forged with Lucile Manguin’s deceptively sober dress (the pleating is complex) from 1937, a sliding-door sideboard designed for collector Maurice Jardot, and a lantern by Noguchi.<\/p>\n

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On level 9<\/p>\n

In the “Poetic materials” room<\/strong><\/p>\n

Gilles Jonemann’s (godfather of contemporary jewelry) detour of ordinary materials such as pebbles and sandstone-like emu egg fragments into jewelry is right up there. So do the textured steel and concrete of Finnish artist Inari Kiuru, and the spiky, claw-like silver of Albert Duraz’s sculptural jewelry evoking a fantastic bestiary. All three transcend the material to create strange surfaces, shimmering colors and bewitching effects. Like Albert Elbaz’s masterful use of silk for Lanvin dresses that fly and float around the body. Or Rick Owens’ oiled leather garments.<\/p>\n

 <\/p>\n

It’s up to you to find other connections with contemporary design, of which there are many. And while you’re there, enjoy some of the best views in Paris, including the Sacr\u00e9 Coeur, the Op\u00e9ra Garnier, the Champs-\u00c9lys\u00e9es, the Eiffel Tower and the Grand Palais. Enjoy your visit.<\/p>\n

 <\/p>\n

\u201cParcours Mode Bijoux Design” at the Museum of Decorative Arts (Paris) \u2013 Until November 10, 2024<\/p>\n","protected":false},"excerpt":{"rendered":"

The curators of the various departments of the Mus\u00e9e des Arts D\u00e9coratifs did not adopt a random approach in spreading their treasures over the 5 floors of the Pavillon de Marsan. Together, they have woven links and correspondences with contemporary design based on free associations. <\/p>\n","protected":false},"featured_media":37212,"template":"","tags":[2111,4774],"class_list":["post-37244","mon-agenda","type-mon-agenda","status-publish","has-post-thumbnail","hentry","tag-contemporary-jewelry","tag-exposition"],"acf":[],"yoast_head":"\nJewelry and contemporary design, at the Mus\u00e9e des Arts D\u00e9coratifs (Paris)<\/title>\n<meta name=\"description\" content=\"100 jewels have emerged from the storerooms to join the permanent collections in the contemporary design wing of the Pavillon de Marsan.\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/thefrenchjewelrypost.com\/en\/mon-agenda\/jewelry-and-contemporary-design-at-the-museum-of-fine-arts-paris\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" 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