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