a touch of alchemy nada le cavelier 182 design The world’s archaelogists uncover ancient relics which then find their way into museums or private collections. Lebanese- born Nada Le Cavelier can be considered an archaelogist of sorts, albeit one that immortalises understated relics through jewellery design. After an inspiring treasure hunt, the micro- mosaic Nada Roma collection is born – artistically studded with precious and semi-precious stones, all with a tale to tell. T E X T BY M Y R N A AYA D P H O T O G R A P H Y BY M A N S O U R D I B 184 design ne can only imagine the wealthy Westerners of world of fashion, Le Cavelier would design her own dresses the late 1800s and early 1900s. Women in and earrings, and pore over countless fashion magazines, high-necked, long-sleeved dresses and men in black top observing the garments and accessories that cinema stars hats and long coats made their voyages to the Italian capital donned. “I absolutely wanted to study fashion and design,” of Rome – one of the cradles of the Renaissance – to view its she says with conviction, “even though I’m not as fascinated wonders. The West’s prosperity allowed the luxury of travel and with fashion as I used to be.” In the literal sense, a bizarre twist an increased appreciation for the arts led to the establishment of fate ensued – Le Cavelier took courses in marine biology of renowned cultural institutions. The Italians welcomed the at the American University of Beirut after meeting her then- flocks of tourists who marvelled at the intricacy of Rome’s husband, who specialised in environmental sciences and frescoes and painted domes, animal behaviour. She worked its overwhelming historical with him for 10 years but To serve as a token of remains and breathtaking reflects that, “it wasn’t really architecture. To serve as a remembrance, the Italians – working as much as it was a token of remembrance, the beginning in Rome – created personal interest.” Italians – beginning in Rome miniature replicas of their – created miniature replicas Memories of the Past city’s treasures. From colourful of their country’s treasures. Her passion for design From colourful bouquets of bouquets of flowers to elaborate re-emerged in 1979, when flowers to elaborate friezes, friezes, crosses and birds, they she joined a cousin on crosses and birds, they created tablets comprised of archaeological excavations in created tablets comprised of Lebanon and stumbled across miniscule pieces of glass or stone. miniscule pieces of glass or tiny bronze artefacts. “They stone. These micro-mosaics were too small to do anything adorned the necks and hands of affluent female tourists or with, so I decided to wear them!” she exclaims. In doing so, served as objets d’art. Decades later, they attracted a small she pioneered the art of creating jewellery out of antique number of collectors and made their way into antique shops. bronze relics, all of which were remains of the civilisations that Their reappearance on the contemporary stage is largely had influenced the Middle East. From the Phoenicians and due to Lebanese-born jewellery designer, Nada Le Cavelier, Romans to the Byzantines and Muslims, Le Cavelier believed who has brought them back to life and fused history, art she was “bringing these remains of the past back to life.” Based and jewellery together through her Nada Roma collection. on the use of gold and semi-precious stones, the collection was a success and one that carried a deep attachment on Le The Very Foundations Cavelier’s part. “Seeing the pieces before and after they came Le Cavelier’s innate love for all things artistic was fostered out of the workshop was such a pleasure, yet also a difficulty through her father, who was a judge and a poet and had because it was emotionally hard to sell them.” The collection a profound passion for architecture. Mesmerised by the aroused the interest of the French Cultural Centre, which 185 design design wanted to host an exhibition. In the explain that her journey was one midst of her country torn by laden with self-education war, with Beirut divided into and delight. While micro East and West, Le Cavelier -mosaics are not certified, initially refused but finally Le Cavelier’s trials and gave in after the Centre’s errors have rewarded her repeated requests. “I had with the ability to evaluate an exhibition in East Beirut and and assess their quality. For two another in West Beirut a month years, she scoured the antique later,” says Le Cavelier rather sadly, “I took what shops and markets of Rome, Florence and Venice, was shared by all of Lebanon, regardless of East amassing a collection of about 2000 micro- and West, but the irony was that two exhibitions mosaics and all the while believing she would were held.” create something out of them at a later stage. Exhibitions in Italy, Germany, England, the “The city of their creation is not as important as USA and Saudi Arabia followed, and so did much the quality of the micro-mosaics themselves. imitation. “I took it as a compliment, but I was They are such beautiful objects, and despite very upset to know that my copiers had begun how similar they may appear, they are all so using fakes, which were very ugly too,” says different. Every time I bought a piece, I was Le Cavelier, who has not created jewellery out so excited!” During her quest, Le Cavelier of ancient bronzes for 15 years now. By the time came across only two other collectors and the Lebanese war was over, she had opened her hired two ladies based in Italy to assist in her hunt. own boutique, taken up courses on precious and semi- Numerous multi-shaped micro-mosaics later, Le precious stones in the USA, and launched yet another unique Cavelier relocated to a larger boutique over a year ago and, to concept that, once again, incorporated ancient pieces. Using mark her 25th anniversary in jewellery design, launched Nada cameos – hand-carved scenes or portraits of people and Roma. From heart-shaped micro-mosaics converted into four- animals in three-dimensional relief – and intaglios, carvings leaf clover necklaces, to matching the most similar of tablets done entirely below the surface of the stone, Le Cavelier had in the making of a pair of earrings, Le Cavelier incorporated firmly established herself as a niche jewellery designer. precious and semi-precious stones in the process. Due to the political turbulence that plagued Lebanon, she opted for a The Italian Expedition ‘silent opening’, which despite its seemingly low profile, sold It was one abandoned micro-mosaic in a workshop that successfully. Just as attached as she was to her bronzes, Le set off Le Cavelier’s Nada Roma collection. Captivated by Cavelier feels the same about her micro-mosaics. Her love its beauty, she visited a number of Europe’s antique shops for them extends to the loyalty she feels towards her prized before finally tracing its Italian roots. “There are no books on clients. “I remain honest. If the earrings don’t suit the lady who micro-mosaics,” she says, stressing the ‘no’ and going on to is buying them, I ask her to please choose another pair. It’s 187 design “The city of their creation is not as important as the quality of the micro-mosaics themselves. They are such beautiful objects, and despite how similar they may appear, are all so different. Every time I bought a piece, I was so excited!” really for her and for me, and people trust me and listen to yet beautiful in our own ways.” Tourmalines are her favourite, me.” Le Cavelier also went on to inscribe the backs of some and out comes a tray filled with the most dazzling multi-sized of the pieces with messages – ‘music is love’ or ‘a bouquet stones. “These tourmalines can have so many extraordinary for you’ – and in doing so, supplements her cherished micro- colours. From the lightest of pinks to the darkest of greens…” mosaics with what she terms “special messages.” Clients she goes on energetically, touching each stone and holding it also receive a mini magnifying glass with every purchase of up towards the light. “Diamonds are stones that are white and micro-mosaic jewellery. shiny and brilliant. They can be used to enhance something else, but for me, a diamond is not an end in itself,” she Soulful Creations believes. Le Cavelier’s daughter, Valérie, handles the precious Aside from her passion for antique relics and her “step stones division. Having pursued a degree in sociology, Valérie away from the classical definition of jewellery,” Le Cavelier went on to complete studies in gemmology in the USA and is extremely fond of irregular or imperfect stones, as though worked in the Sotheby’s jewellery division before joining her metaphorically reflecting her belief that “we are all full of flaws mother nine years ago. “Valérie has brought in a new, young 188 189 line,” adds Le Cavelier proudly. Indeed, much as Le Cavelier’s diamond as an investment. I am giving my clients something creations attract people from far and wide, Valérie’s simple yet totally different, an artistic ornament.” That her designs blend stunning designs have a strong following. past and present, bringing past to present and possessing What next then for Le Cavelier? “To tell you the truth, I an unmatched uniqueness, is remarkable. The root of her have come a long way. I am not planning anything in particular creations begins with a love for objects from bygone eras, yet. I have achieved everything I wanted in life. In my work, which she believes is embedded in “a potential story that I got recognition and respect and everything I could dream things from the past could tell,” adding that “there is an art to of. It’s fantastic, and it was not even what I was looking for,” saving something.” Perhaps this is exactly her artistic mission she admits. Without a doubt, there is an art to Le Cavelier’s – to remind us of former glories and their immortality. creations. One can go as far as to say that she is an artist who creates artworks that women wear. “That has, and always will For more information call +9611 200821 or visit be, exactly my intention,” she asserts. “I am not here to sell a www.nadalecavelier.com 190 design The root of her creations begins with a love for objects from bygone eras, which she believes is embedded in “a potential story that things from the past could tell,” adding that, “there is an art to saving something.” 191
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