Chanel’s Mademoiselle Privé exhibition in Seoul had so much in store for us, as we were fortunate enough to meet Frédéric Grangié, the man whose rich experience in the luxury world led him to become the president of the house’s watches and jewelry division in July of 2016.
As a holder of a Master’s Degree in Luxury & Fashion Products Marketing from the Institut Supérieur de Marketing du Luxe in Paris, it came as no surprise that Grangié exceled in this job and contributed to Chanel’s top placement in the jewelry world. In the interview below, you will get the chance to discover Chanel’s history in this field, the pieces displayed at D Museum and much more.
Tell us more about the Chanel jewelry pieces and watches displayed in this exhibition.
The decision to showcase the 1932 Collection de Diamants is really based on the fact that the exhibition is super modern yet extremely intimate, and I think this is the right way to communicate our story. Also, when you go through the exhibition, what you see and what you experience in the end are the essentials of Chanel, from the Chanel No5 fragrance to haute couture and high jewelry.
When you think about the whole story, it probably changed high jewelry forever, because all of a sudden it became relevant, modern and designed by a woman for women. At that time it was groundbreaking because Gabrielle was going against all the rules. It is amazing because back then, Place Vendome was basically where you had all the high jewelry, but it was all managed by men who hated Gabrielle, and they tried very hard to kill the project. But, against the odds, she created a collection that was all about diamonds with pieces that run very fluidly on the skin. She showcased them on mannequins that were used by hairdressers.
Historically speaking, it is a beautiful collection that is of very high importance for the brand because Chanel was playing with the highest category of jewelry, and doing something that is actually very relevant, modern and different. We think it is very much a part of the Chanel DNA. What she created then, allowed us to be extremely free in terms of creation today.
Image of the high jewelry room at Chanel’s Mademoiselle Privé exhibition in Seoul
Was the creation of these stunning pieces a struggle for the artist?
Yes, they represent thousands of hours of craftsmanship. In our workshop located at 18 Place Vendome in Paris, hundreds of thousands of hours are spent on the creation of jewelry. At the same time, what is interesting is the element of pride and stress our teams experience when they are working on those types of pieces because we are really talking about heritage, the basis of high jewelry and Chanel. This is us, this is our history and that is why it is so special for us.
What makes Chanel’s style in jewelry and watchmaking different?
It is a combination of pure creation. We have skillful designers and this is essential for us, just like in fashion and fragrances. At the same time, we come from a different perspective because Gabrielle Chanel was very modest and she started her career by making hats, as you can see here in the exhibition. And so, from the very start, she was dealing with women who were buying products for themselves. I think this is very much a part of what we design and what we bring to the market, and that makes it different from houses that are anchored in the 19th century. We have a different DNA and a different story. For instance, starting next week, you will discover the new high jewelry collection which is extremely creative and absolutely beautiful. And what is interesting about it is that it is very new. In terms of technique and design, no one has done this kind of work before. The collection is called Flying Cloud which was the name of the Yacht of the Duke of Westminster. So it has a very nautical theme, but treated in a way that – to our knowledge – has not been used by anyone else. The reason why it has never been done is the fact that we come from a different place, and I realized this when I was looking at the collection as it was being developed and finalized. If another house was to create such a collection, it will make no sense, even if a designer had that inspiration. It is only because Gabrielle Chanel and her lifestyle were all about the Duke of Westminster, the Flying Cloud, hats and jumpers… So, we can take elements from there and incorporate them into today’s high jewelry pieces.This is in fact the start of every single creation, and then the designer takes it and maybe he and the studio will go very far with it, but it will always be Chanel. It will always represent and express Chanel and at the same time, just like in fashion, it will continue to build upon what already exists. And in October, we will also see a new launch which will be a watch. And again, I think the watch will be totally unexpected in the market. The few people who have seen it have told us this is the most Chanel watch I have ever designed.
In your opinion, which Chanel jewelry piece is essential for every Chanel woman who loves jewelry? Why?
I think right now, women are buying several Coco Crush rings and bracelets and wearing them together. This is what we have been seeing and what is happening. Of course, in terms of design, this is very Chanel as a jewelry piece.
Which timepiece would you choose in this context as well?
I think as of now, the Première Boy watch is a Chanel signature, the newest signature and it is becoming very popular. It is very pure and interesting because in a way it is a bit masculine but at the same time it is very elegant. This watch was released two years ago and the beige gold version which is coming very soon is absolutely stunning.
Tell us more about you and how it is to head such an important department in the House of Chanel?
I think I am very lucky to be in this position. What is important is that Chanel is a company that has a very long term vision. I actually joined the company one year ago and I think that what is really great about it is that everybody who is at Chanel is really here to serve the brand and to transmit it. To me, having a long-term vision is the essential value of true luxury, and it is even more important when it comes to watches, jewelry and high jewelry. In fact, you need to have that long-term vision and you need to know that you are able to implement it when, for instance, you launch your first in-house movement as we did last year at Baselworld with Monsieur Caliber One.
This is the fruit of 5 years of development. Once we achieve this, we can move to Caliber 2 and Caliber 3 and 4 and so on. Concerning high jewelry, you need to look at maybe 20 years down the line, and honestly that is what we are doing. In 2022 we will be celebrating 20 years of high jewelry at Chanel and we are already working on this occasion.
With the interesting use of ceramic for the J12 watches, how does Chanel revolutionize the watchmaking scene like in fashion?
When the J12 was introduced in 2000, it was actually revolutionary in the world of watchmaking, not because Chanel was the first brand to use ceramic, but because I think Chanel really took it to the next level and used the best possible ceramic. As you may or may not know, we actually make our own which is very exclusive. As part of our manufacture, we also make our ceramic which enables us to have the highest standards in terms of quality. And then in 2003 we introduced the white J12 which was more of a revolution on the design side. I think what is interesting is the fact that at Chanel, it always starts from the creation. Our designers and creations need us to innovate. So for example, what we presented at Baselworld this year is our second in-house caliber, which is amazing from the movement point of view. What was really interesting is the Première Camelia Skeleton which is beautiful; it is a watch that looks like a Camelia. But Camelia is actually the movement. What makes it even more special is the ability of our manufacture to serve the creation and bring to the market a design that is absolutely true to what the designer had in mind. We are always researching a lot in terms of innovation. We do not necessarily release everything we create, because either they are not 100 percent true to the creation, or we felt that they do not necessarily add value to the brand.
Would your innovative spirit take you to create a connected watch?
Of course we can come up with a connected J12 but what value would it have if it is strictly about counting the steps you took today, and tells you what the weather is like. It would be simply following a trend, so I think this is why we want to make sure that when we talk about innovation we do not really limit ourselves to what is obvious to people. To us, it really has to start from creation, from our designers, and if it makes sense for them and for the brand then yes, we will release it in the market.
From the pieces showcased in this exhibition, does the house own a piece from Gabrielle Chanel’s first high jewelry collection?
Yes, we do. The collection includes 45 pieces that she designed, and we own one of them. It is very difficult to buy the rest of them back, because the emotional attachment to them is solidly high. At best we can borrow them for one exhibition or one shooting, as when it comes to such an emotional attachment it is not a matter of price.
The original "Comète" brooch from 1932’s Collection de Diamants
Mirella Haddad
