Impertinence: the seal of new modernity?
The Archbishop collection belongs to that category of jewels that are not designed to be purely decorative, but to send out a message too. It reflects François Garaude's line of thinking on jewelry, which is to give meaning to the jewels, to speak of symbols and to leave one's mark. The Archbishop rings profess a marked turning point, at the risk of displaying impertinence. They boldly dare to talk of heaven. Opulent, they affirm that beauty can be immoderate and provocative.
With their cross shape, the Vatican rings both impress and disturb, so much do they echo the pomp displayed by certain popes and men of the Church. Against the sobriety of the divine message and meditative rites, against the silence of faith, they brandished their tiaras, heavy crosses and gold rings, like insolently beautiful seals of heaven.
Distantly echoing that thrilling appeal of gold and precious stones, impertinence is expressed in the Vatican rings like a bolt of lightning. Their large tubular cross is riveted to an oversized mount. The heart and ends of the cross are set with cabochons in bright, concentrated hues: tapered Burmese rubies and gray spinels in the gold version; a Colombian emerald surrounded by Burmese sapphires and red spinels in the gold rimmed silver version.
It is beautiful bright red spinels that adorn the Vatican Sportmodel too. With its hand-brushed silver mount, it calls to mind the cool and rigorous modernity of industrial mechanics. Its bold new futuristic form, its contoured, sinewy mount, and the sober luster of the metal produce a rough and pointy remake of the Vatican that belies the religious silhouette of the other ring.
However, one cannot work without the other, like twin sisters who have taken two entirely different paths in life.
The Archbishop rings boast an ultra-contemporary look that holds its own and display an ardent devotion to uniqueness and exceptionality.