René Morin

René Morin was born into a family that he liked to describe as European. His Italian mother and French father agreed to him pursuing studies in art, provided that he sought training in a “real profession”. In 1956, aged 24, Morin did just that when he secured a diploma in jewellery and fine jewellery, adding it to his diploma in sculpture from Lyon Beaux-Arts. Murat, the jeweller with whom he did his apprenticeship, saw his potential and encouraged him to try his luck in Paris. Arriving there in 1957, Morin very quickly became acquainted with the group of artists exhibiting at Iris Clert gallery, Arman, César, Christo and Yves Klein, who became a real friend.

However, frequenting the avant-garde did not pull him away from his first loves, the Renaissance and the quality of his creations. Marcel Chaumet did not get it wrong when he hired him in 1962. When Morin was just 30 years old, he found himself responsible for design at a 182-year old Maison. He stayed in this position for 25 years.

Pieces of lapis lazuli discovered by chance in a chest of drawers were used to make the first extremely modern pieces, a unicorn clip with a gold and turquoise mane. René Morin saw himself as an artisan – he did not really like the term designer –, but he was also a fantastic artistic director. He brought his ideas to life with pencil sketches which the dozen or so artists at the studio diligently translated, along with the workshop which appreciated his perfect knowledge of the craft.

He created themed annual collections, Windsor and Combourg castles, boats or British military headdresses – with a trip to London to gather information – panther, snake or duck necklaces... His creativity knew no bounds. Animals often made an appearance - like Mitsou, the Siamese cat belonging to the concierge of the hôtel particulier at 12 Place Vendôme, who would drink the water from his brushes. When it came to using Baccarat cullet, the fragmented crystal taken from the bottom of the pot, René Morin designed the Bestiaire fabuleux with a panther, ram, goat, lynx, fox... a total of 32 animals in raw crystal, with vermeil beaks, horns or snouts.

This creative freedom was also expressed at the Arcade, a new kind of boutique, a mix between a jewellery gallery and a concept store before they were actually a thing. It was something never before seen on Place Vendôme. To mark the occasion, René Morin created five bold XXL parures finely carved from “Arcade-polished” textured yellow gold: a question mark necklace updated as a vine, earrings that would not look out of place in Star Trek, a futuristic floral bouquet.

This creative freedom was also expressed at the Arcade, a new kind of boutique, a mix between a jewellery gallery and a concept store before they were actually a thing. It was something never before seen on Place Vendôme. To mark the occasion, René Morin created five bold XXL parures finely carved from “Arcade-polished” textured yellow gold: a question mark necklace updated as a vine, earrings that would not look out of place in Star Trek, a futuristic floral bouquet.

In 1977, René Morin designed the Liens d’Or collection, a double hollow gold thread with a hook, composed of a necklace, bracelet, clip earrings and ring. “

He realised that jewellery was evolving, so the line had to be adaptable. – “I need to find something” he repeated. – He found this new challenge really fun”, recalled his daughter Diane.

Fifty years later, Liens is still one of Chaumet’s iconic collections.

Gemologist and member of the Chambre syndicale des experts professionnels des objets d’art (trade association for professional objet d’art experts), René Morin was a gemstone expert who was fascinated by Golconda diamonds. But this did not stop him from focusing more on the aesthetics than the value of minerals.

Pierres d’Or was the fruit of reflection on insecurity in New York which explains why the middle stone was replaced with a 24-carat gold cartouche. The motif was inspired by the coats of arms present on the facade of Parisian buildings. Assembled on an interchangeable silk cord or gold or pearl necklace, set with rubies, emeralds or cabochon sapphires, rings and clip earrings were also created and are some of the Maison’s bestsellers.

René Morin was curious by nature and loved to hunt out treasures. His inner circle even included antique dealers. A connoisseur of snuffboxes and tsubas, the guard on a Japanese weapon, two themes which inspired an exhibition at the Arcade, he also loved to buy old etchings, for example this set of 300 pieces by Jean Lepautre, and gold and silverware.

In 1984, this appreciation of beautiful objects inspired the Nouveaux regards collection. It showcased stunning dialogues between René Morin’s artistic vision and ancient works unearthed from all over the world, such as the lid of a canopic jar from the Saite period, a ram’s head from Achaemenid Persia, an oinochoe (jug from Ancient Greece) handle, and Foo dogs.

René Morin’s designs also demonstrated poetic deadpan humour: a small diamond-set lacquered apple green mouse nibbling sugar which was nothing other than a clock, the téléphone necklace, a woman in a bubble bath of diamonds or a multipurpose space shuttle, watch, calculator, penholder...

A pluralist artist, René Morin created a connection between jewellery and architecture which is reminiscent of René Brandt’s statement: