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Julia Roberts and Chopard’s yellow diamond at the Cannes Film Festival

Julia Roberts and Chopard’s yellow diamond at the Cannes Film Festival

Campaign Happy Diamonds captures the actress’ radiance in a campaign created by filmmaker Xavier Dolan.

Julia Roberts sparkled in a beautiful necklace in Fairmined-certified ethical 18-carat white and yellow gold adorned with a rare central yellow diamond weighting over 100 carats and set with pear-shaped and cushion-shaped diamonds totalling 54.67 carats from the Red Carpet Collection.



Julia Roberts brilla con joyas de Chopard

 Julia Roberts brilló en la alfombra roja del Festival de Cine de Cannes luciendo un magnífico collar realizado en oro blanco y amarillo ético de 18k y un diamante Amarillo excepcional de más de 100 quilates y engastado con diamantes talla pera y talla cojín por un total de 54.67 quilates, de la Colección Red Carpet.



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Hublot takes on the (Black) Diamond and pays tribute to 75 years of Aspen Snowmass with the Classic Fusion Aerofusion Aspen Snowmass Limited Edition

Aspen Snowmass is an enigma. A destination steeped in history and community, it also moves with speed and draws visitors the world over. It is hard to make time stand still in America’s most iconic and adventurous mountain town, but that’s exactly what Swiss luxury watchmaker Hublot and Aspen Snowmass have achieved today.

In honor of the 75th Anniversary of Aspen Snowmass, Hublot: The Official Resort Partner and Official Timekeeper of Aspen Snowmass, has kicked off the resort’s auspicious 75th anniversary (taking place in January 2022) ahead of time, by launching a limited-edition commemorative timepiece to celebrate the Diamond Anniversary (that is fondly termed “The Black Diamond Anniversary” in acknowledgement of the mountain’s famed downhill terrain).

Aspen Snowmass – home to four mountains, two towns and one unforgettable experience at the confluence of nature, culture, and recreation – and Hublot – renowned for The Art of Fusion, have combined forces to design a piece that speaks to the DNA of both the mountain and the Swiss luxury Maison.

Designed in artful collaboration, the alpine-white skeletonized timepiece takes on the iconic Hublot Classic Fusion model. This limited edition of 30 pieces made of black ceramic with a white ceramic bezel features the Aspen tree leaf on the second hand and high shine brilliant titanium, a homage to the silver mining heritage of the Rockies and Aspen township. The limitation is stamped on the back of the timepiece along with the 75-year commemorative logo: the piece is a true collector’s item for 30 lucky few.

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The story of the collaboration between Bulgari and MB&F is first and foremost that of an encounter – initially motivated by mutual professional respect and subsequently evolving into a strong friendship – between Bulgari’s Product Creation Executive Director, Fabrizio Buonamassa Stigliani; and MB&F’s Founder and Creative Director, Maximilian Büsser. The outcome is FlyingT Allegra, a joint and unexpected feminine creation merging various skills, but above all two mindsets.



This story is also that of an unlikely connection, of two paradoxes combining to form a single, homogeneous and sophisticated whole. It is also the story of an encounter between two unusual and unconventional creative approaches. When MB&F and Bulgari decide to join forces, the result can only be extraordinary, in the truest sense of the word.

Both Bulgari and MB&F display strong character in their respective fields yet are also very different. The Rome-based Maison is known for its love of cabochon-cut coloured gems in jewellery watch creations, expressing Mediterranean warmth and exuberance – diametrically opposed to the currently prevailing classicism. Born in 2005, MB&F took the decision to design radical timepieces exploring previously uncharted conceptual territory within a watch industry environment characterised by stubborn conventionalism.

The two brands were thus bound to converge on a shared platform: that of their jewellery-making and mechanical audacity. MB&F works on volumes and complexity, while Bulgari creates two-dimensional models with a radically graphic aesthetic. The choice to revisit MB&F’s Legacy Machine FlyingT was thus both natural and logical, since FlyingT Allegra incorporates both sensibilities.

Radical in terms of its architecture and construction, while exquisitely precious in terms of its opulent ornamentation, this creation was intended as a tribute to femininity. In its name FlyingT, the T stands for the initial of Max Büsser’s wife, Tiffany, as well as for flying Tourbillon. In an ultimate refined touch embodying this sophisticated approach, the movement is designed in such a way that only its owner can read the time.

While this may seem simple, the reality is quite different. The movement is vertically built along a central axis orchestrating the overall architecture of the entirely visible mechanism. In this respect, the watch deliberately goes against tradition, since everything that is usually hidden is highlighted here in a three-dimensional construction.

The upper end of the axis carries the diamond-set flying tourbillon and the balance, a vibrant technical organ against which the hours and minutes dial is set at a 50-degree angle, precisely defined so that the owner of the FlyingT Allegra is the only one who can read the time. The case-back reveals the sun-shaped oscillating weight: its gold sandblasted rays rotate on the ruthenium disc positioned above a platinum counterweight.

Between the regulating organ and the rotor, the barrel ensures an extremely generous 100-hour power reserve made possible by the reduction in the number of gears. A sapphire crystal dome tops this three-dimensional assembly, beneath which one can admire the organic life of the movement.

This unusual construction with its feminine-themed design could not have been more appropriate for Bulgari. The volumes of the watch – featuring a case entirely redesigned by Bulgari to give it a futuristic and opulent profile – are matched by those of the coloured stones. These gems serve to counterbalance the cold precision and micromechanical complexity of this model by instilling the Roman jeweller’s warm and exuberant signature touch. For each of the 20 timepieces composing the two pink or white limited editions, jewellers have carefully selected tourmaline, tsavorite, diamonds, rubellite, amethyst, tanzanite and topaz, in an exceptional composition forming a full circle around the movement. The dial entirely paved with snow-set diamonds provides a dazzling backdrop.

In contrast to conventional high jewellery codes, Bulgari has always favoured the use of coloured stones rather than diamonds alone. Coloured gems enable the Rome-based Maison to create authentic compositions through a gradual process aimed at achieving harmony and chromatic power adapted to the design of the model. Cut is very important, and Bulgari favours the cabochon which ensures extreme clarity of the stone while emphasising the opulence of the creation. The cabochon cut perfectly matches the FlyingT Allegra’s round and voluminous case.

This exceptional partnership goes far beyond the realm of the complicated feminine jewellery watch. It highlights two visions of the world, two interpretations of creativity that are radically different in form, yet which merge in substance within an integrated and harmonious co-creation vividly demonstrating the power of two.


In a departure from most modern watch movements, which take a radial and co-planar approach to movement construction, the LM FlyingT engine utilises a vertical and co-axial approach. The cinematic flying tourbillon, which boldly projects beyond the dial-plate of LM FlyingT, is a visually stunning example of the rotating escapement and stands in stark contrast to other flying tourbillons, which usually do not venture past the confines of their surrounding watch dials.

Flying tourbillons, as their name suggests, are anchored only at their base, with no stabilising bridge to restrict lateral motion at the top. This increased need for overall rigidity is what causes the conservative placement of most flying tourbillons within their movements. Legacy Machine FlyingT breaks free of this limiting need for movement security and confidently displays its flying tourbillon in all its glory.

In order to display the time as precisely as possible on the 50° inclined dial, conical gears were employed to optimally transmit torque from one plane to another. The 280-component engine of Legacy Machine FlyingT has a power reserve of four days (100 hours), which is among the highest within MB&F.



20 pieces in 18K white gold and 20 pieces in 18K red gold diamond-set cases, with fully diamond-set dial plates, adorned with fine gemstones.


MB&F FlyingT movement featuring three-dimensional vertical architecture, automatic winding, conceived and developed in-house.

Central flying 60-second tourbillon.

Power reserve: 100 hours.

Balance frequency: 18,000bph / 2.5Hz.

Three-dimensional sun winding rotor in 18K 5N+ red gold, titanium and platinum.

Number of components: 280.

Number of jewels: 30.


Hours and minutes displayed on a 50° vertically tilted dial with two serpentine hands.

Two crowns: winding on left and time-setting on right.


Material: 18K white or red gold, set with diamonds.

High domed sapphire crystal on top with anti-reflective coating on both sides, sapphire crystal on back.

Dimensions: 39 x 20mm.

Number of components: 17.

Water resistance: 3ATM / 30m / 90’.


For the white gold version:

  • Brilliant-cut diamonds on the dial and crowns: ~ 0.24ct
  • Brilliant-cut diamonds on the case and buckle: ~ 2.80cts
  • 3 tsavorites square, pear and round: ~ 1.33cts
  • 1 oval topaz: ~ 0.71ct
  • 1 oval amethyst: ~ 0.4ct
  • 1 round tanzanite: ~ 0.43ct
  • 1 round tourmaline: ~ 0.06ct

For the rose gold version:

  • Brilliant-cut diamonds on the dial and crowns: ~ 0.24ct
  • Brilliant-cut diamonds on the case and buckle: ~ 2.80cts
  • 2 tsavorite square and round: ~ 0.38ct
  • 2 tourmaline oval and round: ~ 0.64ct
  • 1 oval tanzanite: ~ 0.47ct
  • 1 pear amethyst: ~ 0.70ct
  • 1 round rubellite: ~ 0.39ct

Strap & buckle

Alligator leather strap with white or rose gold pin buckle matching the case.


Part of the LVMH Group, Bulgari was founded in Rome in 1884 as a jewellery shop. Known as the magnificent Roman jeweller and master of coloured gems, Bulgari has established a worldwide reputation for Italian excellence and enjoys renowned for its exquisite craftsmanship. The company’s international success has evolved into a global and diversified luxury purveyor of products and services, ranging from fine jewels and high end watches to accessories and perfumes, and featuring an unrivalled network of boutiques and hotels in the world’s most exclusive shopping areas.

Demonstrated through its numerous philanthropic partnerships, Bulgari deeply believes in innovating the present for a sustainable future through its commitment to Corporate Social Responsibility and giving back – to nature and to the community

Serie 800 Diamond de Bowers & Wilkins. Excelencia. Evolucionada.

Serie 800 Diamond de Bowers & Wilkins. Excelencia. Evolucionada.

Serie 800 Diamond de Bowers & Wilkins.
Excelencia. Evolucionada.

La mejor gama de cajas acústicas del mundo introduce un diseño industrial completamente nuevo y un abanico de tecnologías revolucionaras para establecer estándares de excelencia todavía más elevados en la búsqueda del sonido absoluto.

Serie 800 Diamond de Bowers & Wilkins. Excelencia. Evolucionada.

Serie 800 Diamond de Bowers & Wilkins.
Excelencia. Evolucionada.

¿Cómo es posible mejorar la gama de cajas acústicas High End más icónica y de mayor éxito del mundo? Se trata de un desafío que durante los últimos seis años ha tenido ocupadas a las mejores mentes del SRE, sede del mundialmente reconocido equipo de ingeniería de Bowers & Wilkins. Su solución es combinar mejoras continuadas en cada componente de cada modelo con tecnología innovadora y exclusiva que reimagina los fundamentos básicos del altavoz de una caja acústica convencional: la nueva, única y revolucionaria Suspensión Biomimética.
La nueva Serie 800 Diamond continúa estando formada por siete modelos, comenzando con el monitor de dos vías para montaje en estantería/sobre soportes 805 D4. A continuación vienen tres columnas de tres vías: la 804 D4, la 803 D4 y la 802 D4. Para el buque insignia de la gama, Bowers & Wilkins se complace en reintroducir un nombre icónico a su portafolio de productos con el lanzamiento al mercado de la 801 D4 para sustituir a la 800 D3 ya existente. Destinadas en exclusiva a aplicaciones de Cine en Casa, las cajas acústicas centrales de altas prestaciones HTM81 D4 y la HTM82 D4 completan la nueva gama.

Cada uno de los nuevos modelos combina cientos de mejoras en pequeños detalles y varias tecnologías completamente novedosas para crear la gama de cajas acústicas más transparentes, detalladas y naturales jamás construida por Bowers & Wilkins.

Diseño Refinado

Las elegantes y refinadas proporciones de los recintos se combinan con unos acabados lujosos y extraordinariamente cuidados para convertir a la nueva Serie 800 Diamond en la más exclusiva de las producidas hasta la fecha.

El primero y más obvio de los cambios introducidos es la adición de un cuarto acabado. Ahora, la nueva gama incluye un acabado en Nogal Satén que se suma a las terminaciones en Negro Brillante, Blanco y Rosenut Satén ya existentes.

Cada modelo estereofónico de la gama también se beneficia de un recinto con un diseño significativamente mejorado en el que destaca la presencia de una sección superior de aluminio de fundición –que sustituye a la madera utilizada en la versión precedente- para lograr una rigidez incluso mayor y de este modo mejorar todavía más el nivel de “silencio” del conjunto. Aportando un toque lujoso, el perfil de la nueva pieza superior de aluminio está terminado en piel “Leather by Connolly” de color negro para los recintos con terminación oscura (Negro, Rosenut Satén) y gris claro para los recintos con acabados más claros (Blanco, Nogal Satén).

Asimismo, cada modelo de la gama incluye una versión revisada del icónico Tweeter con Recinto Macizo Montado en la Zona Superior materializada en el uso de un sistema de carga tubular alargado para producir un sonido aún más abierto en las frecuencias altas del espectro. Este extremadamente rígido recinto resiste cómodamente las resonancias no deseadas a la vez que constituye una forma excepcional desde el punto de vista acústico, en especial cuando es combinado con un nuevo esquema de desacoplo de dos puntos que lo aísla del resto de la caja acústica con una efectividad sin precedentes. Al igual que en la generación anterior de la Serie 800 Diamond, el Tweeter con Recinto Macizo es mecanizado a partir de un bloque macizo de aluminio y ahora exhibe una terminación anodizada en blanco o negro -dependiendo del color de la caja acústica- para celebrar este hecho.

Ya para finalizar, la nueva gama introduce tres formas completamente nuevas para los recintos. Así, los modelos para estéreo 805 D4 y 804 D4 adoptan el recinto con envoltura inversa introducido por primera vez en 2015 para las cajas acústicas de mayores dimensiones de la gama. Esta nueva geometría reduce el perfil del panel frontal –bafle- de cada recinto incrementando simultáneamente de manera drástica la rigidez global de la totalidad del sistema. También permite a los filtros divisores de frecuencias ser ahora montados en espacios dedicados ubicados en la zona posterior de cada caja acústica justo detrás de la extremadamente rígida columna vertebral de aluminio.

Por su parte la 804 D4 aprovecha por completo el potencial de su nueva configuración añadiendo un puerto bass-reflex de emisión inferior con una base –plinto- integral de aluminio, lo que la asemeja mucho a las columnas más grandes de la gama. Junto con la 805 D4 y la 804 D4, la completamente nueva caja acústica central HTM82 D4 adopta también el recinto en envoltura inversa de sus hermanas para obtener unas prestaciones mecánicas y acústicas superiores.

Nuevas Tecnologías
Cono Continuum, FST y Suspensión Biomimética

Resultado de un programa de investigación de ocho años de duración, el Cono Continuum -fabricado en un exclusivo material compuesto y utilizado tanto en altavoces de medios como de medios/graves- goza ya de una gran reputación por la apertura, transparencia y neutralidad de su sonido. Cuando es utilizado en los altavoces de medios en cajas acústicas de suelo de Bowers & Wilkins, se combina siempre con nuestra exclusiva tecnología FST (“Fixed Suspension Transducer” o Transductor con Suspensión Periférica Fija), que evita cuidadosamente la coloración susceptible de ser introducida por las suspensiones periféricas de los conos tradicionales.

Ahora, Bowers & Wilkins ha combinado las ventajas aportadas por el Cono Continuum y la tecnología FST con un avance completamente novedoso que transforma el otro elemento clave del funcionamiento normal de un altavoz: la suspensión interna de tela o spider. A lo largo de décadas de desarrollo continuo en prácticamente todas las áreas del diseño de cajas acústicas, la suspensión interna de tela, un componente fundamental en la suspensión de cada altavoz que forma parte de una caja acústica convencional, apenas ha experimentado cambios… hasta ahora.

La novísima Suspensión Biomimética sustituye la suspensión interna de tela con un sistema de suspensión minimalista de material compuesto que revoluciona las prestaciones del cono de medios reduciendo de manera sustancial la presión de aire no deseada –léase sonido- que puede generar una suspensión de tela convencional, eliminando de este modo sus impredecibles efectos no lineales.

Altavoz de Medios Desacoplado y Cabezal Turbine

Bowers & Wilkins combina todos los beneficios en términos de mejoras de las prestaciones aportados por su Cono Continuum, su tecnología para altavoces de medios FST y la nueva Suspensión Biomimética con un cuidadoso aislamiento de la totalidad de la estructura del altavoz de medios con respecto al resto del recinto de la caja acústica. En todos los modelos de tres vías, los altavoces de medios incluyen un chasis de muy alta rigidez construido íntegramente en aluminio que incorpora Amortiguadores de Masa Sintonizados (“Tuned Mass Dampers” o TMD) para silenciar cualquier resonancia. A continuación, la totalidad de estos transductores y motores magnéticos son aislados en soportes de desacoplo montados en muelles para restringir todavía más el flujo de vibraciones a la totalidad del conjunto.

Finalmente, la 803 D4, la 802 D4 y la 801 D4 incluyen el ultramasivo Cabezal Turbine -construido íntegramente en aluminio- como recinto para sus altavoces de medios, que no sólo proporciona una forma sobresaliente desde el punto de vista acústico sino también un aislamiento aún mejor por cuanto la estructura del cabezal al completo es adicionalmente desacoplada del recinto de graves que hay debajo.

Por su parte, la HTM81 D4 y la HTM82 D4 introducen un concepto nuevo y similar pero en el interior de sus respectivos recintos: cada una de estas cajas acústicas para el canal central de sistemas audiovisuales incluye ahora un recinto de aluminio interno que proporciona un alojamiento extremadamente rígido y muy bien aislado para el altavoz de medios y su mecanismo de desacoplo.
Tweeter con Recinto Macizo

Para minimizar la transferencia de resonancias no deseada en el tweeter de Cúpula Diamond que monta cada modelo de la nueva gama se necesita un recinto excepcionalmente rígido. La nueva Serie 800 Diamond introduce una versión revisada del icónico Tweeter con Recinto Macizo para albergar el altavoz de agudos; al igual que la versión precedente, continúa siendo fruto del mecanizado de un bloque de aluminio macizo pero ahora su forma es más alargada (mide un total de 30 cm) y el sistema de carga tubular que alberga en su interior también es más largo.
La estructura del nuevo Tweeter con Recinto Macizo está ahora desacoplada del cuerpo de la caja acústica o del Cabezal Turbine (dependiendo del modelo) en dos puntos en vez de en uno solo, lo que mejora notablemente la espaciosidad y la aireación. Al mismo tiempo, el motor magnético de tweeter ha sido rediseñado para que el transductor pueda “respirar” de un modo más efectivo sin que se produzcan pérdidas en las prestaciones. El resultado es una reducción considerable de la frecuencia de resonancia detrás de la cúpula del tweeter.

Recinto de Envoltura Inversa y Estructura Matrix

Durante más de 30 años, la estructura Matrix ha sido una de las tecnologías fundamentales de Bowers & Wilkins a la vez que durante todo este tiempo ha sido continuamente mejorada. Materializada en un conjunto de paneles interconectados que refuerzan internamente la caja acústica en todas direcciones, la tecnología Matrix contribuye a que los recintos de las cajas acústicas sean rígidos, inertes y silenciosos.

Ahora, la 805 D4 y la 804 D4 incorporan el recinto de envoltura inversa reservado previamente a los modelos de suelo más grandes de la Serie 800 Diamond. Así, cada uno de los modelos mencionados incluye una rígida placa de aluminio en la cara inferior de su recinto, reforzando su panel frontal –bafle- frente a posibles resonancias. En el interior, ambos modelos también montan mejoras en sus estructuras de refuerzos Matrix, con paneles más gruesos fabricados en madera contrachapada maciza en vez de MDF, todo ello reforzado por secciones de apuntalamiento de aluminio.

Cada modelo para estéreo de la gama también incluye la nueva cubierta superior de aluminio de fundición que sustituye al diseño de madera utilizado en la versión precedente, incrementando drásticamente la rigidez del recinto de la caja acústica. Al igual que en la versión anterior, los altavoces están alojados en vainas de aluminio extremadamente rígidas montadas en el panel frontal de la caja acústica mientras que los filtros divisores de frecuencias están montados en espinas dorsales de aluminio igualmente rígidas situadas en la zona posterior del recinto. Ya para finalizar, la 801 D4 monta una nueva placa de acero en la sección de su base que rodea el puerto bass-reflex con la finalidad, una vez más, de añadir rigidez al recinto y hacer que su funcionamiento sea todavía más silencioso.

Base (Plinto) de Aluminio
Ahora, la 804 D4 se suma a los demás modelos de suelo de la Serie 800 Diamond incorporando un puerto bass-reflex Flowport de emisión inferior cuya salida envía aire a una base de aluminio macizo más rígida combinada con una lámina absorbente de acero tratado que ha sido diseñada para proporcionar un fundamento excepcionalmente robusto y controlar las resonancias no deseadas. La 804 D4 también incluye pies y puntas de desacoplo sustancialmente mejorados, con puntas M12 de grandes dimensiones mucho más estables y rígidas que las M6 del modelo saliente.

La 803 D4, la 802 D4 y la 801 D4 usan la misma disposición en lo que al puerto Flowport de emisión inferior, la base de aluminio macizo y la lámina absorbente de acero tratado se refiere, pero mantienen la configuración de ruedas más puntas de desacoplo introducida en el año 2015 por cuanto facilita una maniobrabilidad a la hora de llevar dichos modelos a la posición de escucha muy superior a la de cualquier diseño de la competencia.

Cono Aerofoil
Fruto del no va más en modelado asistido por ordenador, el Cono Aerofoil es un cono de graves de grosor variable fabricado en material compuesto que ha sido diseñado para ofrecer una rigidez máxima allí donde es más necesario preservando a la vez una baja masa gracias a su revestimiento de fibra de carbono y su núcleo de espuma sintáctica ultraligera.

En conjunción con un motor magnético revisado y optimizado, cada modelo de suelo de la Serie 800 Diamond combina ahora sus Conos Aerofoil con una nueva Tapeta Anti-Resonancias que apuntala cuidadosamente la bobina móvil y reduce la distorsión cuando el cono se desplaza a lo largo de su rango de frecuencias de trabajo, asegurando de este modo unos graves aún más limpios.
Considerados de manera conjunta, todos estos avances tienen como resultado unas prestaciones sin precedentes. Disponible en todo el mundo a partir del próximo 1 de septiembre, la nueva Serie 800 Diamond es la mejor gama de cajas acústicas jamás creada por Bowers & Wilkins.

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They whirl, they waltz, they twirl, they appear to float as if weightless and almost make one forget the passing of time. There is nothing more mesmerising than the exquisite motion of the diamonds at the heart of Happy Diamonds watches and jewellery. Free to move at will, they seem to be vibrantly alive.

They perform free variations and dance as if they will do so forever. Diamonds make light of all prevailing rules and norms, including the law of gravity. Protected between two sapphire crystals, they spin according to the movements of the woman who wears the creations of the Maison on her arm, in the hollow of her neck or adorning her ears. A graceful double ballet generated by the wearer’s movements with which the diamonds keep step – or decide to follow their own path.

Invented by the Chopard workshops in the 1970s, the idea came out during a stroll in the Black Forest of Chopard decorator and designer Ronald Kurowski marvelled at the sight of a waterfall: the drops of water bursting from it reflecting the sunlight and shimmered like the colours of the rainbow. This vision sparked his brilliant idea of enabling diamonds to shine more brightly by freeing them from their retaining claw settings and enabling them to move about freely. But above all, so that they can whirl freely on the watch face, the dancing diamonds are set in a domed cylinder culet. When she caught sight of them, Karin Scheufele spontaneously exclaimed “these diamonds are happier because they are set free”, everybody was agreed that the sentence was very appropriated, and they called them “Happy Diamonds”.

Since the Happy Diamonds, the history of Chopard has been punctuated by iconic collections that have made their mark on the development of both watchmaking and jewellery, no doubt that the most important was the creation of the Happy Sport watch.

Happy Sport is the stroke of genius of a young woman driven by boundless daring and creativity. First introduced by Caroline Scheufele in 1993, it bears within it the countless transformations of an era and embodies Joie de Vivre and the free-spirited attitude to which contemporary women aspire.

Having become a quintessential fashion and watchmaking icon, the Happy Sport collection has continued to stage the enchanting choreography of its dancing diamonds through a multitude of variations that have appealed to every generation, embodying a new way of contemplating time. A look back at this true watchmaking legend. As a young woman, she sparked Chopard’s first profound transformation by launching the family Maison into jewellery-making with her clown pendant design. Having entered the field of design through this masterstroke, Caroline Scheufele – now serving as Co-President and Artistic Director – was driven from the early 1990s by the idea of a versatile watch whose precious, casual appearance would make it equally easy to wear on a tennis court, at a business lunch or for an evening out on the town.

She picked up the concept of dancing diamonds, she decided to place them between two sapphire crystals above the dial. One of her workshop foremen told her it was impossible, before nonetheless promising: “Caroline! If you manage to sell these watches, I’ll give you one rose for each of them.” That only further strengthened the determination of the woman who has always considered that “no” is not an answer. She busied herself with transforming this idea into a viable project. The result presented in 1993 was a real surprise.

For the first time in watchmaking history, here was a watch mingling steel and diamonds, fitted with a soft, comfortable pebble-link bracelet, set with cabochon-cut sapphires on the lugs and on the crown echoing the understated blued hands; and finally, featuring a white dial enhanced by seven diamonds caught up in an animated dance recalling the whirlwind of life itself. The aptly named Happy Sport became a new casual chic fashion icon, acclaimed by the press and in strong demand in the markets. Over the years, Happy Sport has generated a magnificent array of interpretations equalled by very few other watches. This abundance has enabled the collection to become the first collector’s item ladies’ watch. Today, for the first time, the Happy Sport watch is appearing in an optimally comfortable 33 mm-diameter case inspired by the ‘golden ratio’ principles of aesthetic harmony. Seven new references are joining the collection in a rich variety of models: four two-tone featuring a Lucent Steel A223 case embellished with ethical 18-carat rose gold, and three entirely crafted from ethical 18-carat rose gold, available on a leather strap or metal bracelet. An eighth version in ethical 18-carat white gold is entirely set with diamonds. All of them beat to the rhythm of the Chopard Manufacture 09.01-C movement with automatic winding and each dial is graced with the legendary dancing diamonds.

And to pay homage to the first Happy Sport Watch, Chopard, now presents Happy Sport the First, adding major innovations: a new case in Lucent Steel A223 redesigned in a 33 mm diameter inspired by the principles of the golden ratio, as well as the Manufacture Chopard 09.01-C movement with automatic winding.

For the launch of the new Happy Diamonds film starring Julia Roberts and directed by Xavier Dolan, we talked in an exclusive interview with Caroline Scheufele, Chopard Co-President and Artistic Director she gives an intimate perspective on the things that inspire her and her commitment to Chopard’s creative edge.


As a little girl, you made your first watch from aluminium foil as a present for your parents. How did they introduce you to the creative process?

The first thing my father taught me to do, before I learned the alphabet, was to read the time on a Mickey Mouse watch he brought me from America. This was my first contact with watches, so I looked for anything I could find – paper, aluminium and anything else – to make my own timepiece. The only mistake I made was that I got confused with my piano lessons and wrote Chopin on the dial instead of Chopard!

Chopard is one of the rare family Maisons in the watchmaking world and you are regularly seen with your family at major events. How does your family contribute to making you the woman you are?

One of the things I love most about Asia is that families are very close, with traditions such as having Sunday lunches together or the kids tending to spend time at home. Our family is very similar. In addition to living near each other we work very closely together and I have shared an office with my brother since forever. Chopard is a family-owned and independent Maison. This is one of our main strengths and a great blessing in many ways. We don’t always agree on things, but we like to make decisions together and work as a team with regard to business development, global strategy, production, distribution, new designs, and new products. We hope we will always be able to continue working this way.

How do you think one becomes a creator? Both you and your brother took drawing lessons during your childhood from a teacher who had a great influence on your training. How important was this to your creative process?

We are a very creative family. My brother draws and paints very well. I think our lessons were really the door that opened the way to what we are doing at Chopard today both in terms of what he does in the masculine environment and what I do with regard to jewellery and the ladies’ side of things. My brother is also very passionate about the mechanics of watches and complicated movements however and particularly excels when it comes to his other Maison, La Chronométrie Ferdinand Berthoud. It is there that he can truly express himself.

Even today, you never leave home without a sketchbook. As an artistic director, do you think that the need to express your ideas through design is inherent to the nature of creators or do you think that it is a talent that you have to work on?

I think it is a bit of both. On the one hand, being creative never stops and on the other, creators are always searching for something new. One cannot simply push a button and be creative. It is an ongoing process – often in the back of one’s mind. Due to that, I always have my sketchbook at hand, including next to my bed at night, because I might dream of something and not remember the next morning. I may just write down a word so that I remember what happened during the night in the morning. One might have an idea at any moment of the day, even during a dinner – I sometimes even sketch on napkins! To create is a wonderful thing but it’s also a responsibility as one always has to come up with something new.

In 1985, you created your first jewel for Chopard: the Happy Clown. Initially intended to be a one-of-a-kind creation, it soon became a success that marked the beginning of jewellery-making at Chopard. Did you have any idea of this little clown’s potential when you made this sketch?

Never! I was still at school when I designed that little clown. As a child, I loved to go to the circus. And apart from the acrobats and all the animation, my favourite act was the clowns, because although they’re sad, they make people laugh. As a result, I designed the little clown with diamonds in his tummy. And as a surprise, when my father saw the design, he produced it for me for Christmas. I thought it was a unique piece, but a bit later I went to the workshop and saw lots of them. That was the beginning of jewellery at Chopard.

The idea of dancing diamonds came from the vision of a waterfall and droplets gleaming under the sun’s rays. Can you tell us more about them?

Actually, the Happy Diamonds concept has existed for much longer than I have been involved in the Maison, but I’ve always been fascinated by seeing these little diamonds spin around and actually talk about dancing from their place within the pieces of jewellery or the watches.

My mum invented the name Happy Diamonds. When she saw the first prototype in our workshops, she said: “Diamonds are happier when they are free”. Just as a person who is free is happy. Everybody agreed that her comment was very accurate, and it became the name of the entire collection.

In the 1990s, you decided to create a new watch with dancing diamonds: the Happy Sport. When you presented the project, is it true that a workshop manager originally didn’t believe in it very much?

Actually, not just the workshop manager, but the whole watch development team, along with my parents…  They thought it was a crazy idea to put diamonds in a steel case when diamonds are normally hosted in white gold or in platinum. But there was nothing to prevent it. Steel isn’t a precious metal but it’s cool, young, and fun and you can wear it around the clock. It was a big battle, however. And when it came to producing it, it was another challenge because everybody thought I had definitely gone mad. But I’m a very persistent person who doesn’t take no for an answer. The more I hear no, the more determined I am.  Anyway, it did happen, and the results are clearly visible. I remember the workshop manager saying that for every watch sold, he would give me a rose. I ought to have a rose plantation by now!

Did he keep his promise?  

As we had this little bet, at the end of the day, he kept his promise. One Sunday morning, I received a beautiful rose tree for my garden!

What were the Happy Sport’s technical challenges?

Originally, in the classical Happy Diamonds watches, the dancing diamonds were just allowed to spin around the dial. In the Happy Sport, they’re totally free, because they’re floating over the watch. This was a technical challenge because we had to find the aesthetic balance between the case, the dial, the first sapphire crystal, the position of the dancing diamonds and the next sapphire crystal, which made it quite complicated. Then, of course, the watch had to be waterproof. That was another technical challenge.

For me, when you say Happy, it says it all. The diamonds inside are actually truly free. They’re not stuck in a setting where they can’t move. And when you see them dancing, you realize it was worth the challenges!

Like Yves Saint Laurent, whose invention of luxury ready-to-wear enabled women to dress in designer clothes on a daily basis, your introduction of the Happy Sport took the mystique out of jewellery watches, meaning women could wear them 24/7. You invented the watch of the free-spirited 1990s woman. What does being a free-spirited woman mean today?

When I invented the Happy Sport, it was most of all because I was doing a lot of sport myself. That’s why the word “sport” is in there. At Chopard, we had a few summer watches, which were cool sporty pieces. But I really wanted something with a bit of sparkle that you could wear around the clock, suitable for going swimming, water-skiing, playing tennis, shopping, taking the kids to school, going to the office or going to a cocktail party. So if there was no time to change, you would already be somewhat dressed up with little diamonds dancing on your wrist. For me, that was what being a free spirit was all about, because today’s women are all active, whether it’s taking care of several kids or doing charitable work or travelling or working… And this watch is just perfect for all of it.

Women no longer simply look at the time, they take the time to contemplate the choreography of the diamonds. Were you aware that you would revolutionized our relationship with time this much?

I wasn’t really thinking of shaking up the watchmaking industry, I was just doing my job, which is also my passion, namely creating and designing. Maybe I did come up with something very unusual and unexpected, which is often the case with the best creations. But I had no idea that we would come that far with this watch.

How do you explain that the Happy Sport is still as contemporary today as it was when it was created in 1993? When young women come to your boutiques asking for the same Happy Sport that their mothers and grandmothers wore, what do you feel?

It’s a watch that somehow really crosses generations. I think this is how icons are born, when something is passed on from grandmother to mother to daughter. I had no idea when I first designed it that this would be the case.

How do you wear your own Happy Sport or think it should be styled?

I would mix and mismatch it. You could wear it alone, or with beautiful Happy Hearts bangles, or with some beautiful diamond bracelets that would also go well with it to dress it up. I also wear the iconic clown pendant with it, so it definitely lends itself to being dressed up or down. That is the beauty of the Happy Sport. You can easily pair the steel version with a diamond ring. There is no “no go”.

Since 2015, Happy Hearts has also become a jewellery icon. How did this idea come up?

It was during a very boring meeting! When I get bored, I start designing, so I doodled around. We already had these long chains with simple empty hearts, which I also design. And I thought about giving them some colour and started colouring the hearts. One often doesn’t see things that are glaringly obvious as was the case in this instance. Subsequently, the trend was for young girls and women to wear lots of chains and good luck charms and bangles. As a result, we came up with the bangle, which is beautiful as well as being lovely to wear because it’s very soft and easy to put on and take off.

You chose Julia Roberts to embody the Happy collections. Was she an obvious choice? Why this particular actress?

When we first talked about launching a Happy Diamonds film, the team said it would be nice to have an ambassador with an incredible smile. So I immediately suggested Julia Roberts! I said that to my mind she has the most radiant smile on the planet! Who doesn’t like Pretty Woman? Who wouldn’t want to be Pretty Woman? She is one of my all-time favourite actresses. She has made great movies including Erin Brockovich. She’s the kind of actress that shines from the inside out. She’s a happy person. She has this sunny energy fostering hope that everything will be reborn even more beautiful than before, as well as amazing magnetism and inextinguishable Joie de Vivre. Julia Roberts was the only person I felt could convey the free-spirited charisma of Happy Diamonds and that is exactly how I wanted the Happy Sport watch portrayed.

How did you come up with the idea of entrusting the film to Xavier Dolan? How did you meet him?

He is one of the darlings of the Cannes Film Festival, where I met him. As one of my favourite directors, I immediately thought I should ask him to collaborate on our project so he could capture the emotions I wanted to convey thanks to his sharp attention to detail, which is what makes the intensity of his movies. He was instantly enchanted with the idea of working with Chopard and Julia Roberts and has turned out to be a very good choice.


This brings us to your historical partnership with the Cannes Film Festival that reflects your love for cinema. When did this passion strike you? Tell us the story of your collaboration.

I have loved going to the cinema ever since I as a little girl, and I still do. The beauty of movies, whether they’re romantic, scary or educational is that they take you into another world completely for two hours. I think that’s what initially led me to Cannes.  I had always followed the festival from afar, however, and one day I suggested opening a boutique during the festival because of all the celebrities in town. I went to Paris to investigate the possibilities and met Pierre Viot, then president of the Festival. He was charming and he invited me to redesign the Palme d’or, for the 50th anniversary. I left Paris that afternoon with the old version Palme under my arm and stormed into my brother’s office in Geneva and told him I was going to redesign the Palme d’or. He looked at me as if I were completely mad but that was how it all began. Twenty-four years after the new Palme d’Or was unveiled in its current form, the love story continues. Since 2014, as part of our Journey to Sustainable Luxury, the trophy is made of Fairmined gold. We also created the Chopard Trophy in 2001, in order to reward young acting talents. Chopard belongs to Cannes and a bit of Cannes belongs to Chopard.

As one of these free-spirited women, you were at the origin of the Journey To Sustainable Luxury initiated in 2013 by Chopard. Today, sustainability is at the heart of the concerns of all the major maisons. Tell us how you came up with this visionary idea?

In 2012 at the Oscars, Livia Firth asked where our gold comes from. My immediate reply was “from the bank” but that wasn’t really the expected answer. There are millions of men and women digging up gold, often working in unsafe conditions and unfairly compensated for their work, or not at all. From that moment onwards, I was determined to embark on a mission to change not only Chopard as a company but also the entire industry. Sustainability is a Journey which never ends. And today, more than ever, our priority has to be to protect the people on the ground who make our business possible. Once we became aware of the situation, there was no going back. All of us at Chopard are convinced of the importance of putting ethical issues at the heart of our concerns. The sourcing of responsibly mined gold for our watch and jewellery production was one of the biggest milestones on our Journey to Sustainable Luxury.


People who know you say that your optimism and positivity are contagious. What are your tips for happiness?

First of all, I think you have to be happy in yourself. Otherwise, you can’t make others happy. It doesn’t cost much to smile. I always see the glass half full, not half empty, and I think waking up in a good mood, going to work in a good mood, and sharing your good mood with your team is essential.

What is your favourite motto?

Be happy!

And dance with your Happy Diamonds, of course.

Happy Talk

with Julia Roberts

  1. Something that makes you happy instantly? 

The sunrise. Instantly is very specific…

  1. A movie that makes you happy?

The Philadelphia Story is a movie that makes me happy, to think about or to watch.

  1. Your happiness tips?

-1- be kind to others;

-2 -surround yourself with loving, kind, compassionate people;

-3- kissing, followed by dancing as a close second.

  1. Your favourite qualities in a woman?

Depth, soulfulness and just a real personal strength.

  1. Your greatest extravagance?


  1. What makes you laugh?

Cleverness; not so much things that are funny, but things that are clever: a thoughtful thread to humour.

  1. What do dancing diamonds evoke to you?

Perhaps the idea that something is going to happen!

  1. How does your Happy Sport watch make you feel?

There is something about having a watch and every time you look at it seeing all these sparkling diamonds whirling around; it’s pretty awesome and truly good stuff.

  1. What does being a free-spirited woman mean today?

Being comfortable in your convictions and sharing your convictions with those around you. Not all women have those liberties and I am very grateful that I have them.

  1. How important to you is responsible luxury?

I would say that the idea of responsible luxury is something that not enough brands pay attention to. The thing with a Maison like Chopard is that it has really pioneered the idea of having a conscience, leading the charge and setting an example for other brands to follow.

  1. What is so special about Chopard?

Chopard just represents this timeless idea of elegance and sparkle and being ladylike. You kind of think: “When I grow up I want to be having a great time and wearing watches and earrings by Chopard”… and now look at me, I’m all grown up!

  1. Your favourite motto? 

The motto that I repeat the most is “no way out but through”.

  1. What’s your present state of mind?

I am really happy right now; it’s been such a beautiful day and I have felt such a really great sense of kinship that I had not expected today, so I’m superhappy.

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An exceptional 242-carat diamond offered on sale at ALROSA Jubilee Auction #100 in Dubai

An exceptional 242-carat diamond offered on sale at ALROSA Jubilee Auction #100 in Dubai

February 26, 2021 – ALROSA, in honor of the 100th auction of large diamonds, is putting up for auction one of the largest gem-quality crystals mined by the group since 2000. The last time a lot of such significance was put up for open sale was five years ago.

The Jubilee Auction #100 will take place on March 22, 2021. The flagship of the range is a 242.31-carat gem-quality crystal with dimensions of 21.7×31.3×41.9 mm. Viewings to be held at the ALROSA sales office in Dubai from 14th to 21th March.

Evgeny Agureev, ALROSA Head of Sales: “Rough diamonds, which potentially allow for cutting a diamond larger than 100 carats, are extremely rare in nature. Even less often such gems are traded: according to the law, all rough diamonds larger than 50 carats mined in Russia undergo a state examination for redemption to the state fund. Even when it is possible to put them on sale on the market, we prefer to cut and polish the diamond in-house before. Thus, today we are especially pleased to present this exceptional lot as part of our 100th international auction”

Dubai viewings will also feature two outstanding diamonds 190.74 and 136.21 carats each and a range of notable diamonds over 10.8 carats.

Under the current legislation, ALROSA sells special-size (over 10.8 carats) rough diamonds at auctions only. The first auction of such kind was held by the United Selling Organization of ALROSA in Moscow in 2003.


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La venta de joyas magníficas de Sotheby’s Hong Kong asciende a 56.473.108 dólares



5.04 quilates Anillo de diamantes de color azul vivo elegante, tipo IIb
Alcanza HK $ 81,796,000 / US $ 10,554,138

SE VENDE POR HK $ 81,796,000 / US $ 10,554,138 (US $ 2,094,075 POR QUILATO)
(EST. HK $ 60 – 75 MILLONES / US $ 7,7 – 9,7 MILLONES)

Presentado a partir de una importante colección privada, este diamante azul en forma de corazón sin duda está a la altura de este gran galardón de Fancy Vivid Blue, que posee un rico e innegable tono azul que recuerda al cielo azul y al océano seductor, y es verdaderamente una exhibición exquisita de lo mejor de la naturaleza. .

Diamante rosa vivo elegante de 4.49 quilates, impecable internamente
Se vende por HK $ 63,002,500 / US $ 8,129,213

SE VENDE POR HK $ 63,002,500 / US $ 8,129,213 (US $ 1,810,515 POR KILATO)
(EST. HK $ 58 – 68 MILLONES / US $ 7.5 – 8.8 MILLONES)

Este diamante rosa Fancy Vivid es impecable por dentro, con 4,49 quilates de rareza pura. Abrazando el tono, el tono y la saturación más idílicos, el color rosa espectacularmente atractivo es incomparable, un tesoro que alberga el carisma más encantador.


De HK $ 80.657.000 / US $ 10.407.173

VENDE POR HK $ 80.657.000 / US $ 10.407.173 (US $ 14.867 POR QUILATO)

Este notable collar de cuentas de jadeíta verde imperial que consta de 37 cuentas de notable tamaño, y es hasta la fecha, el collar de cuentas de jadeíta más grande que recibe un certificado especial de Gubelin por su calidad de jade imperial. Las cuentas de jadeíta exhiben un color que combina perfectamente, combinado con una translucidez excepcional y un brillo excelente.


Se dispara por encima de la alta estimación para vender por HK $ 1,625,000 / US $ 209,674

SE VENDE POR HK $ 1,625,000 / US $ 209,674
(EST. HK $ 380,000-500,000 / US $ 49,000-64,500)

Este brazalete firmado por Garrard, el joyero londinense de la corona británica, fue un regalo que se le hizo a la princesa Margarita en su 21 cumpleaños. La princesa Margaret fue vista usando el brazalete muchas veces en público, lo que indica su afinidad por la pieza. Más adelante en su vida, la princesa Margarita volvió a montar algunas de sus joyas más antiguas en diseños modernos, tal como lo había hecho la reina Victoria en el pasado. Sin embargo, esta pulsera de diamantes se mantuvo en su engaste antiguo original.


Christie's- The Pink Legacy Diamond
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Christie’s- The Pink Legacy Diamond

Rahul Kadakia, Jefe Internacional de Joyería en Christie’s, explica por qué este espectacular diamante Fancy Vivid Pink de 18.96 quilates se vendió por CHF50,375,000 en Ginebra

“La saturación, la intensidad de esta piedra es tan buena como la de un diamante de color”, afirma Rahul Kadakia, Jefe Internacional de Joyería, de Pink Legacy, un extraordinario diamante Fancy Vivid Pink de 18.96 quilates que se vendió por CHF50,375,000 en la   subasta de Magnificent Jewels el 13 de noviembre en Christie’s en Ginebra , y sus nuevos propietarios, Harry Winston , lo rebautizaron rápidamente como The Winston Pink Legacy .

Christie's- The Pink Legacy Diamond

Christie’s- The Pink Legacy Diamond

Christie’s- The Pink Legacy Diamond

“Encontrar un diamante de este tamaño con este color es bastante irreal”, continúa. ‘Puede ver este color en un diamante rosa de menos de un quilate. Pero esto es casi 19 quilates y es tan rosa como puede ser. Es increíble.’

Los científicos clasifican los diamantes en dos ‘tipos’ principales: Tipo I y Tipo II. En este último, el diamante tiene un color particularmente raro, casi homogéneo. ” Los diamantes rosados caen en la rara categoría de diamantes Tipo IIa”, explica el especialista. ‘Estas son piedras que tienen poco o ningún rastro de nitrógeno, y representan menos del dos por ciento de todos los diamantes de gemas. Las piedras de tipo IIa son algunos de los diamantes más químicamente puros, a menudo con una transparencia y brillo excepcionales.

Mientras que la mayoría de los diamantes rosados ​​exhiben un modificador de color como púrpura, naranja, marrón o gris, el Legado Rosa no muestra rastros de un color secundario. Su distribución uniforme del color, combinada con una saturación equilibrada, tono y tono rosado directo, califica el diamante de 18.96 quilates para la codiciada clasificación de color ‘Fancy Vivid’ del Instituto Gemológico de América (GIA). Solo uno de cada 1,000,000 diamantes posee un color lo suficientemente profundo como para calificar como ‘Fancy Vivid’, y el Winston Legacy estableció un nuevo precio récord por quilate para un diamante rosa.

‘Los diamantes rosados ​​de cualquier tamaño y profundidad de color siempre han tenido un encanto especial. Este diamante rosado de talla esmeralda de 18.96 quilates se encuentra entre las piedras preciosas más raras ‘- Tom Moses, Vicepresidente Ejecutivo GIA

En la gama Fancy Vivid Pink, rara vez se encuentran diamantes de más de cinco o seis quilates. De hecho, menos del 10 por ciento de los diamantes rosados ​​pesan más de un quinto de un quilate. En la sala de ventas, los diamantes Fancy Vivid Pink de más de 10 quilates son prácticamente desconocidos: en más de 250 años de historia de subastas en Christie’s, solo cuatro de esas piedras han aparecido a la venta.

Christie's- The Pink Legacy Diamond

El diamante Pink Legacy en un anillo

Impulsados ​​por la demanda del coleccionista y una oferta cada vez más limitada, los precios de los diamantes rosados ​​grandes de alta calidad han aumentado exponencialmente a lo largo de los años. Este  mercado en auge  alcanzó un nivel histórico en Hong Kong en noviembre de 2017 cuando Christie’s vendió ‘ The Pink Promise ‘, un diamante Fancy Vivid Pink de forma ovalada de poco menos de 15 quilates, por $ 32,480,500, la friolera de $ 2,175,519 por quilate. La cifra sigue siendo el precio récord mundial de subasta por quilate para cualquier diamante rosa.

Este incomparable diamante rosa ha descendido de la familia Oppenheimer y su venta fue un momento importante en la historia de las subastas.

Para actualizaciones periódicas de joyas, siga  @christiesjewels en Instagram



LOT SOLD. 553,037,500 HKD (Hammer Price with Buyer’s Premium)


CTF Pink Star – A True Masterpiece of Nature


On 4 April 2017 in Hong Kong, Sotheby’s set a new world auction record for any diamond or jewel when the Pink Star, a 59.60-carat oval mixed-cut Fancy Vivid Pink Internally Flawless diamond, sold for HK$553 million / US$71.2 million. The Pink Star was acquired by renowned jeweller Chow Tai Fook, with the winning telephone bid placed by Dr. Henry Cheng Kar-Shun, Chairman of the company. The Pink Star has been renamed CTF PINK STAR in memory of the late Dr. Cheng Yu-Tung, father of the current chairman and founder of Chow Tai Fook, and commemorates the esteemed brand’s 88th anniversary.

The CTF PINK STAR, a 59.60-carat oval mixed-cut pink diamond, is the largest Internally Flawless Fancy Vivid Pink diamond that the Gemological Institute of America (GIA) has ever graded. It has received the highest colour and clarity grades from the GIA for pink diamonds and has been found to be part of the rare subgroup comprising less than 2% of all gem diamonds – known as Type IIa: stones in this group are chemically the purest of all diamond crystals and often have extraordinary optical transparency. Mined by De Beers in Africa in 1999, the 132.5-carat rough diamond was meticulously cut and polished over a period of two years and transformed into this stunning gemstone.



Sotheby’s is proud to present the magnificent Pink Star, one of the world’s great natural treasures. The largest Internally Flawless, Fancy Vivid Pink diamond that the GIA has ever graded, this 59.60 carat diamond is a true masterpiece of nature.


Accompanied by GIA report numbered 2175607011, dated 28 April 2016, stating that the diamond is natural, Fancy Vivid Pink Colour, Internally Flawless; together with a diamond type classification report stating that the diamond is determined to be a Type IIa diamond; also accompanied by a letter from GIA stating that this is the largest Flawless or Internally Flawless, Fancy Vivid Pink, Natural Colour, diamond they have ever graded; the GIA report is additionally accompanied by a separate monograph.Further accompanied by a monograph from Gübelin, duplicate no. 16 of the original report numbered 0701199, dated 22 November 2007, stating that the diamond is Fancy Vivid Pink Colour, IF, Type IIa, together with history and chemical analysis of the stone.


One of the World’s Great Natural Treasures

Meticulously cut by Steinmetz Diamonds over a period of nearly two years – a process in which the 132.50 carat rough was cast in epoxy more than 50 times in order to create models upon which the design team could experiment with different cuts -it was transformed into this spectacular 59.60 carat, fancy vivid pink, internally flawless oval cut gem – the largest internally flawless or flawless, fancy vivid pink diamond that the Gemological Institute of America (GIA) has ever graded.

The diamond was first unveiled to the public in May 2003 as the ‘Steinmetz Pink’, and was modelled by Helena Christensen at a dedicated event thrown to coincide with the Monaco Grand Prix. Writing in the Financial Times on the 31 May 2003, Mike Duff described the diamond as “the rarest, finest, most precious stone the world has ever seen”. The stone was first sold in 2007 and was subsequently renamed “The Pink Star”. In the same article, Tom Moses, Executive Vice President and Chief Laboratory and Research Officer of the GIA, is quoted as saying: “it’s our experience that large polished pink diamonds – over ten carats – very rarely occur with an intense colour… The GIA Laboratory has been issuing grading reports for 50 years and this is the largest pink diamond with this depth of colour [vivid pink] that we have ever characterised”.

Of all fancy coloured pink diamonds, those graded ‘Fancy Vivid’ are the most precious and desirable. The current world auction record for a pink diamond is the Graff Pink, a superb 24.78 carat diamond which sold at Sotheby’s Geneva in November 2010 for US$46.16 million. Weighing in at 59.60 carats and graded as Fancy Vivid, the Pink Star is twice the size.

In the summer of 2003, this amazing gem was exhibited at ‘The Splendor of Diamonds’ exhibition at the Smithsonian National Museum of Natural History in Washington, DC. Displayed in the Winston Gallery alongside the 45.52 carat blue Hope Diamond, the exhibition featured seven of the world’s rarest and most extraordinary diamonds. Also on view for the first time in the United States was the 203.04 carat De Beers Millennium Star, one of the largest diamonds in the world; the Heart of Eternity blue diamond; the Moussaieff Red, the largest known red diamond in the world; the Harry Winston Pumpkin Diamond; the Allnatt, one of the world’s largest yellow diamonds at 101.29 carats; and the Ocean Dream, the world’s largest naturally occurring blue-green diamond.

Commenting at the opening of the exhibition, Dr. Jeffrey Post, curator of the Gems and Minerals Collection of the Smithsonian National Museum of Natural History said, “Each of the diamonds is the finest of its kind and together with the museum’s gem collection makes for an exhibit of truly historic proportions”. In the three months the exhibition ran, the Smithsonian Museum of Natural History attracted more than 1.6 million visitors.

From July through November 2005, The Pink Star again took centre stage, this time at the ‘Diamonds’ exhibition held at the Natural History Museum, in London. “This exhibition will bring together many of the most impressive single stones in the world, fascinating science, and insights into the diamond industry to tell the story of diamonds from deep in the Earth to the red carpet,” said Michael Dixon, director of the Natural History Museum. For five months, the dazzling exhibition attracted approximately 70,000 visitors a day.