A muses, irresistible jewels<

C’est le secret le mieux gardé de l’année. Combien Mme et M. Carter, alias Beyoncé et Jay-Z, ont-ils été payés pour la nouvelle campagne de publicité de Tiffany & Co. ? Sachant que la chanteuse américaine ne vante jamais les vertus d’aucun produit si ce n’est celles de ses disques, qu’elle apparaît de surcroît avec son époux, que leur niveau de notoriété est stratosphérique, il semble peu probable que LVMH, le nouveau propriétaire du joaillier américain, ait eu deux Carter pour le prix d’un. Tiffany & Co. aurait déboursé plusieurs dizaines de millions de dollars pour l’ensemble de cette campagne qui met en scène deux poids lourds du R’n’B et du rap. La somme la plus folle avancée étant de 100 millions de dollars… Pas de réponse de la griffe, qui « ne communique pas sur ce sujet»».

Same mystery on the prize of the painting "Equals Pi", by Jean-Michel Basquiat, in front of the two singers and whose turquoise blue is exactly the same as that of the New York jeweler. LVMH s’est offert récemment cette toile peu connue du célèbre artiste d’origine haïtienne après y avoir décelé, selon les propres mots d’Alexandre Arnault, vice-président chargé des produits et du marketing de Tiffany & Co., "A tribute" from Basquiat to the emblematic color of the American brand.These words did not fail to arouse controversy in the United States on "the mercantile appropriation of an artist's inspiration".Ditto with Beyoncé, vilified for having carried in this advertisement the sumptuous Tiffany yellow diamond of 128 carats "to racist history", since it was extracted in the 19th century "with the blood of the South Africans" ...

Quoi qu’il en soit des outrances du « wokisme»» contemporain, l’opération de Tiffany & Co.has achieved its goal.The whole world has spoken of the jeweler by associating it with "supreme" value, love, in this case the one who unites two African-American idols enjoying highly "inclusive" power in the eyes of XYZ generations.This campaign is above all revealing the evolution of links between luxury brands and their muses.In recent years, relations and contracts have become more complex, in particular because of the multiplication of digital distribution networks and socio -cultural changes.In addition to the difficulty inherent in the exercise which consists in finding a muse that is in line with the brand's values - positive, necessarily positive -, new rules have appeared."The contracts are hyper -locked and filled with ethical and aesthetic clauses which did not exist before, recognizes a jeweler in Place Vendôme.We ask to be warned in the event of a significant change, as a passage from brown to blonde, an overflow of Botox.But tomorrow, what would we do if the woman we had hired to embody our jewelry became a man?When we spend several million euros for a star to wear our creations, we do not want to take any risk.»»

The function of the muse has also evolved, as the semantics attached to it. D’aucuns différencient les « ambassadeurs»» des « amis»» de la marque. Les premiers sont habilités à « une prise de parole sur la maison»» lors d’interviews et de dîners de clients, tandis que les seconds sont encouragés à faire vœu de silence dans les mêmes circonstances. Il en va de même pour leurs émoluments, l’ambassadeur étant payé plus cher que l’ « ami de la marque»».In all cases, the amount remains classified as secret-defense. Ainsi, lorsque Bulgari débourse plusieurs millions de dollars pour son égérie blockbuster, l’actrice hollywoodienne Zendaya, aux 111 millions d’abonnés sur Instagram, il n’en dépense « que»» quelques centaines de milliers pour la top model italienne Vittoria Ceretti."This is a question of ratio," explains Jean-Christophe Babin, CEO of Bulgari.The star must not cost more than 20 % of her activation, the sums that we will invest in order to stage it in advertising campaigns, events, the media.Sometimes you can add a collaboration on a jewelry line or a model to amortize the cost of fame.»»

De fait, ces « égéries»» sont désormais transformées en « talents»». Cette appellation vaut définition et souligne « le don remarquable dans le domaine artistique»» de ces acteurs, sportifs, musiciens et autres influenceurs embauchés dans les écuries bijoutières."Our talents have causes that are close to their hearts," says one at Cartier.They engage in special projects like actress and director Mélanie Laurent, who participated in the development of the woman's pavilion at the Dubai Universal Exhibition and wrote an opera for Cartier.»» Un phénomène de fond, puisqu’il est désormais impossible à la plus belle fille du monde de ne donner que ce qu’elle a."In less than five years, we have gone from" Be beautiful and shut up "to" You are sublime, claim it and open it ", notes a publicist.The problem is that an international jewelryman who makes three quarters of her turnover in Asia does not necessarily want his muse to take up the cause for the Uighurs.»»

Pourtant, la tendance du « talent qui s’exprime»» est à double tranchant.Building is commendable and can prove to pay for certain circles, but harm the brand whose primary function is to sell its products to as many people as possible, to which the populations and causes supported by the star do not generally belong.

It remains to be seen whether the use of these personalities has a direct impact on the sales of the jewelers."It's difficult to assess," says Jean-Christophe Babin.But the impact in terms of image are important.When you choose the American Zendaya or the Indian actress Priyanka Chopra, it gives rise to an emotional bond between Bulgari and the African-Americans, between our jewelry and India.If we limit ourselves to an advertisement with a photo highlighting the product, there will only be the beauty of the object.We deprive ourselves of the pleasure of her appropriation by the muse in which the woman will project herself.»» Une projection immédiatement quantifiable et qui peut rapporter gros sur un tapis rouge.Chopard, partner of the Cannes Film Festival for over twenty years, evidenced by."Whenever Marion Cotillard or Sharon Stone climbed the steps with one of our high jewelry models, we immediately sold them.»» La magie cannoise, à n’en point douter.

"The jewelry is carrying feelings"

Emma Roberts, the niece of Julia, is the muse of Pretty Woman, the latest collection of jewelry of Fred, which pays homage to Garry Marshall's film.

Paris Match. Pourquoi avez-vous accepté d’être le visage de ces bijoux ?Emma Roberts. C’est une histoire de famille que je suis fière de continuer.My aunt Julia Roberts wore in “Pretty Woman” the Fred collar with the hearts in ruby.And for an American like me, it seemed very chic to accept!I love everything that is Parisian or comes from Paris.Being dressed, made up, adorned by a luxury house as iconic as Fred is a very funny role to play.This is a bit of the story of Cinderella.When I travel, especially in France, in Paris, I have the impression of being a different person.

Vous avez l’impression d’être une muse ?[Elle éclate de rire.] You cannot be a muse and say that you are one!Audrey Hepburn was a muse, a sweater and black pants were enough for him to be perfect.She inspires me a lot.Let's say that here I give a pretty, pretty, of myself version.

Quels liens entretenez-vous avec la joaillerie ?Les bijoux sont porteurs de sentiments et véhiculent une mémoire et des souvenirs.When I was born, my mother received a diamond ring and, when I gave birth to my son, she offered it to me.Jewelry is also accessories.There is no rule to wear them.I like to mix old pieces with contemporary models, mix the golds and the colors.It still works.

Read.Haute Joaillerie, the escalation of excellence