Welcome to the Arcade

From January 1970, the press reported rumours that Chaumet was considering creating “a new sales unit dedicated to jewellery and modern life.” The Chaumet brothers commissioned Agence Bernard Cognard to create this new modern space.

The first challenge faced by the interior designer was giving the Arcade its own architectural identity, different to that of the historic boutique. To do this, a showcase pillar was positioned in the centre of one of the two arcades, creating an open space for displaying pieces, inviting passers-by to visit in the same way they would visit a gallery. The harmony and understated aesthetics of this new entry contrasted with the rest of place Vendôme, in particular the choice of materials: “black and Orly blond anodised aluminium”. The frameless windows created an impression of airiness.

Chaumet wanted the Arcade to be an exhibition space dedicated to a new more hedonistic and accessible art of living. Inside, everything was designed with this goal in mind. The sofas, beige carpet and Chinese lacquer came together in “rye, amber and black tones, creating a soothing ambiance and comfortable space”.

On the basis that contemporary jewellery brought with it a new sales approach and more fluid uses, the space fulfilled one of the leitmotivs of 1970s architecture and interior design: almost complete mobility. For example, a system of rails installed on the ceiling allowed the spaces and showcases to be adapted and changed. More classic display units were also equipped with wheels, making it even easier to change up the décor.

The size and shape of the boutique were designed to avoid any monotony. A large number of mirrors, some of them smoked, made the space look bigger and very seventies.

After the surprising layout of the ground floor, the lower ground floor offered an extraordinary space that was unique on place Vendôme. The atmosphere was just as comfortable and welcoming, with two full walls dedicated to displaying the objets d’art which were making a comeback at Chaumet. These pieces defied the rules, because they were also jewellery: the gold bird leaning over the edge of a tourmaline bowl was in fact a clip.

But the originality of this space undoubtedly lay in the audiovisual performance enjoyed by clients. It was developed by Abadie and Albert Plécy, French journalist, photographer, film director and painter.

As a Jean-Baptiste Lully piece played, four screens descended from the ceiling, onto which the objects were projected, lit up by spotlights. The coloured images were brought to life by an electronic programmer which showed the photographed objects from different angles and close-up, as part of an experimental, immersive approach.

Then, the show made way for contemporary jewellery, which appeared on the screens in a fanciful panorama as musique concrète played. Models presented the different ways in which the pieces could be worn. Clients were able to see the jewellery in a unique way, as part of a more direct approach, contrasting with the distance usually created, while at the same time defying jewellery codes.

The Arcade was inaugurated on 17 June 1970. 250 or so pieces, designed by the Maison’s design studio, orchestrated by René Morin, and made in the workshops, were installed to surprise Place Vendôme regulars. He was able to proudly boast that he was the oldest jeweller on Place Vendôme, on the same day he demonstrated that he was also the most innovative.

The Arcade had both a sales and artistic purpose, displaying jewellery and contemporary art creations, an approach which reflected the rise in artistjewellers, who exhibited their work in art galleries.

As well as blurring the lines between genres, the Arcade became an exhibition space in its own right. In 1974, it exhibited the bottle and preliminary designs that the Maison made for Jean Patou, making the fragrance 1 000 an olfactory extravagance and piece of jewellery.

The Arcade’s method and avant-garde approach resonated worldwide and its architectural and commercial concept were copied internationally. Around 1973, London and Brussels were the first to embrace Chaumet’s modern vision in completely rethought spaces. Next came Geneva, Tokyo and Hong Kong, marking the Maison’s opening up to the world and in particular to Asia in the second half of the 1970s.

In 1973, slight changes were made to the Arcade at 12 Place Vendôme in order to host Les Temporelles, an exclusive
space dedicated to the sale of watches and clocks: wristwatches, table clocks and precious, modern and sometimes extravagant timepieces.

The Arcade was designed as an open space, a place where people could take their time, where a salesperson would only offer a client guidance if they asked for it. Nicknamed the “arcadiennes” by insiders, this charming team dressed in uniforms designed by Maison Nina Ricci, stood out from the all-male salesperson team at the historic boutique. Miss Delpech kept a watchful, maternal eye on them from her counter.

The Arcade marked a global revolution at a strategic time in the Maison’s history and French jewellery-making. Its architecture translated new ways of thinking, displaying, selling and buying jewellery, and fitted in with the new lifestyle that the 1970s embodied. While the traditional boutique coexisted with the Arcade, both their collections were featured in the same sales catalogues. What might seem like a detrimental approach today, wasn’t seen as such at the time. The Arcade drove the future developments of Chaumet and leading jewellery maisons: iconic collections (with Liens) and themes (musical instruments, playing cards etc.), sales catalogues, an architectural concept,a graphic identity, division of a boutique into areas and distinct sales sections between Chaumet (High Jewellery), the Chaumet Arcade and the timeless Chaumet watches. An advertisement at the time eloquently stated, “Between tradition and modernity. Chaumet chose beauty. Chaumet is a Universe”.