Pierre Sterlé

Elegant Lines

There are some designers whose style signature is instantly visible. Pierre Sterlé is one of them, and yet he never actually drew a jewel himself. His mark extends far beyond his own story and is imprinted on the history of jewellery-making.

VANESSA CRON, exhibition curator

Installation A Golden Age: 1965-1985 Chaumet 12 Place Vendôme

Kingfisher clip

Born in 1905, he was by no means destined for the profession, but the premature death of his father brought him closer to his uncle, Georges Pinçon, a jeweller. It was in his workshop that Pierre Sterlé learned the craft.

Throughout his life, he continued to have great respect for the various trades involved in making jewellery: jeweller, polisher, setter, lapidary...

Olifant brooch

In 1934, Pierre Sterlé established himself as a jeweller. As well as his jewellery-making workshop, his partnership with experienced designer Alexandre Diringer allowed him to be a creative force and bring unique designs to life.

From the outset, the Sterlé workshop supplied the big names on Place Vendôme, including Chaumet. The Maison’s heritage collection includes a flamboyant example in the form of an extremely modern sapphire, aquamarine and diamond floral brooch, created in 1936.

Sterlé and Chaumet formed an unwavering bond from as early as the 1930s.

Annotated drawing by Sterlé

While Pierre Sterlé did not create jewellery renderings himself, he was nonetheless the original designer. His style developed and was gradually unveiled throughout the 1940s and 1950s.

When Diringer left the company in 1942, Sterlé remained at its head, enlisting the services of other designers. He continued to make pieces for prestigious maisons, while hosting loyal clients in his salons to present his own jewellery collections.

Alexander brooch, King of clubs

While he did not have his own shop front, his jewellery was enough of an advertisement in itself. Pierre Sterlé was elegant and sophisticated, just like his creations. He received an increasing number of orders.

He successfully combined designs full of movement with exceptional gold craftsmanship.

Argine brooch, Queen of clubs

A FOCUS ON MOVEMENT

This constant search for movement in jewellery led to the creation of numerous bird brooches which seemed to come to life. Gold was crafted like an indescribably light material, weaving threads or engraving gold plaques which turned into feathers. Colour was added through all kinds of fine or hard gemstones. There was no hierarchy.

Sterlé’s creations completed haute couture looks at the time and earned him a lasting reputation as “High Jewellery Couturier”. The gold used on his jewellery was fabric, braids, chains and veils all at once.

Deer brooch

More interested in design than in managing his company, Pierre Sterlé found himself in difficulty in the 1960s. The ties he had always preserved with Chaumet allowed him to bounce back.

The man who had perfected the art of “torturing metal” through concepts of knit gold, woven gold, angel hair gold or nugget gold, created unique pieces for the Maison. This collaborative production featured the two Maisons’ favourite themes: fauna and flora, each piece bearing both the name Sterlé and Chaumet.

Ginkgo necklace

When Pierre Sterlé had to close his Maison, he naturally continued to work with Chaumet, dedicating himself exclusively to the Maison from 1976.

Working in parallel with another key designer, René Morin, Pierre Sterlé continued to explore fauna and flora, developing strong aesthetics drawing on many sources of inspiration. To do so, he collaborated with young designer Béatrice de Plinval, with whom he formed a creative duo, designing pieces that would leave their mark on the Maison.

Pierre Sterlé’s inimitable style and rare elegance ensured his name went down in the history of jewellery-making and his jewellery in the history of Chaumet.

Vanessa Cron, Exhibition curator

Jewelled Objects

The Installation

Pierre Sterlé

Elegant Lines

Jewelled Objects

A Golden Age