Bottega Veneta’s Matthieu Blazy On The House’s Debut Fine Jewelry Collection

We produce exceptional things when it comes to clothes, and bags, because we have great artisans—so I thought, Why not jewelry?” Matthieu Blazy, the creative director of Bottega Veneta, is in Venice describing his unhurried approach to the house’s latest endeavor: its first fine jewelry collection. We are discussing these glittering prizes sequestered in a salon in a ridiculously elegant 15th-century Venetian palazzo; on the table between us are the 15 pieces that make up this inaugural undertaking—sleek if gargantuan teardrop earrings; chain bracelets imposing enough to ward off evil spirits; rings whose sweetness is cut with thorns. (The pieces in this initial collection are grouped into four families: Drop, Catena, Primavera, and Enlaced.)

“We started with very few objects,” Blazy explains, with the quiet intensity that informs both his personality and his work. Since taking the reins at Bottega Veneta in late 2021, Blazy has treaded that enviable territory between astonishing artisanal craft and unforced modernism, with his collections among the most anticipated in any fashion season. Maybe it is not so surprising, then, that he should be drawn to creating jewelry that echoes the clean lines and discreet whimsy—those feather hems!—of his clothes. Then again, the whole notion of “investment dressing” has lately undergone a seismic shift: It no longer means predictable classics that last forever, but now includes one-off pieces that justify their price tags with both their uniqueness and the care with which they are made. And isn’t fine jewelry, after all, the ultimate investment—deeply personal, crafted to last for generations? (Last point: If times are tough, you can’t melt a dress and get your money out, but a serious piece of jewelry will always retain its worth.)

“It’s never about the number of things in a collection,” Blazy insists. “It’s about having the right things.” These right things include those huge 18-karat-gold teardrop earrings, whose lightness belies their size. “I liked the singularity of it as an object, as well as how it would look with the clothes,” he says. “The idea was: Just because it’s big, it doesn’t have to be heavy. You have the whole world reflected in it, like a drop of water.” And though Blazy thinks its contours owe a debt to Brancusi, when I venture to suggest that there’s a bit of Grace Jones at Studio 54 in their combination of austerity and audacity, he laughs in agreement.

“We started with the drop, but I was also very interested in introducing diamonds and precious stones,” Blazy continues. To that end, rosettes curve around a diamond band—an homage to his grandmother’s toi et moi ring. “We did pavé, too, but not in a classic way.” Instead, he employed a startling array of cuts in a single earring, because “when it is uneven, it captures the light differently.”

FULL CIRCLE A chain bracelet from the Catena family is sturdy enough to ward off evil spirits; bottegaveneta.com for requests.

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