PIAGET「Colours of Extraleganza」芒通

PIAGET（伯爵）｜「Colours of Extraleganza」高级珠宝系列发布（高珠发布、晚宴与演出；色彩三部曲终章）｜2026-06-16｜芒通

芒通的海边山坡上，Villa Maria Serena 的露台一层层往下落，地中海在下面。这栋宅子的好处不在建筑本身，而在它把一条从室内到花园、再到海面的动线交到你手上。

到达从花园开始。一条窄长的深色水池把两张长桌分成两列，桌上白亚麻、陶盘、本地花材和橄榄枝。两侧是修剪整齐的灌木、伞松和石砌矮墙。

珠宝陈列在几个色室里。墙面是手抹灰泥，颜料混进灰泥而不是刷在表面。蓝室的墙上刻出一条金色链环，珠宝放在透明亚克力棒上，像浮着；黄室刻着连续的回环，赭黄、芥末、土黄一层层叠上去。

光只有两种：洗墙的宽光和打件的窄角射灯。没有主灯，空间是暗的，珠宝是亮的，赭色的细石子地面被脚步踩出声音。

花园里另有一组画面：模特穿酒红真丝长裙、金色臂环和彩宝项链，站在赭色人字砖的台阶上。背后是龙舌兰、红花、石墙和岩洞。珠宝在自然光下更软，颜色不那么贵，更像皮肤的一部分。

夜里是另一套：白色灯笼串、乐队、观众坐在露台上。宴会桌从下午摆到深夜，蜡烛和玻璃杯是主要的亮部。

PIAGET 1874 年在瑞士汝拉山谷起家，先做机芯和超薄表，二十世纪中期转向珠宝与腕表并重。这个系列是色彩三部曲的最后一章，六十五件珠宝与腕表，取材自六十至七十年代的享乐主义，把颜色当材料，而不是点缀。

内容与传播：高珠从不靠产品图传播，靠场景、身体和光。这批素材好在颜色分块，蓝、黄、赭、绿，加上海面那条横线，手机上也能一眼认出是哪一场。

制作上的判断：难点不在装置，在动线。室内色室和室外花园要接得上，宾客从鸡尾酒到晚餐再到演出，中途还要看珠宝，路线一乱，整晚就散。一条水池、两列长桌解决了这件事，人是沿着水走的。

On the hillside above Menton, the terraces of Villa Maria Serena step down toward the Mediterranean. The value of the house is not in the architecture itself but in the route it hands you: room, garden, sea, in that order, without a corridor to break the sequence. Nothing here is grand the way a palace is grand; it is a villa built for air, and the air is the point.

The arrival begins in the garden. A long narrow channel of dark water divides two lines of banqueting tables dressed in white linen, pottery, local flowers and olive branches; the water is still enough to hold the sky. Either side, clipped hedges, umbrella pines and low stone walls keep the view open to the sea. Two long tables on one axis, and the sea kept at the end of it.

The jewels were shown in a series of colour rooms. Walls were hand-troweled plaster with pigment mixed into the material rather than painted onto it, so the colour has thickness and catches light unevenly. In the blue room a single continuous gold chain motif is cut into the wall and the pieces sit on clear acrylic stems, apparently floating; the yellow room repeats the idea with a routed loop running the length of the surface, ochre over mustard over earth.

There were only two kinds of light: a wide wash up the wall and a narrow spot on each piece. No general lighting, so the rooms stayed dark and the stones stayed bright, and the fine gravel floor announced every footstep.

In the garden the register changed. A model in a burgundy silk slip, a gold cuff and a polychrome necklace stood on steps of ochre herringbone brick, with agave, red flowering shrubs, a stone wall and a grotto behind her, water moving quietly somewhere below. Under daylight the jewels read softer, less expensive and more like skin. The dress moved when she did, and the stones moved with it.

At night the same terrace became a different room: strings of white lanterns, a band, guests at tables that had been laid since afternoon, stage light bouncing off white cloth. Candles and glassware did most of the work.

PIAGET began in 1874 in the Jura valley in Switzerland as a maker of movements and ultra-thin watches, and moved toward jewellery and watches together in the middle of the twentieth century. The trilogy had passed through other territories before this one; here the argument closed on colour itself. This collection is its final chapter: sixty-five pieces of jewellery and watches, drawing on the hedonism of the 1960s and 1970s, treating colour as a material rather than an accent.

Communication for high jewellery never runs on product images. It runs on place, body and light. These pictures work because the colour arrives in blocks, blue and yellow and ochre and green, with the horizontal of the sea underneath, so that a phone screen can identify the event at a glance.

The production judgement is that the difficulty here was circulation, not installation. Interior colour rooms had to connect to an exterior garden, and guests moved from cocktails to dinner to performance while still looking at jewels; once the route breaks, the evening breaks with it. A channel of water and two rows of tables solved it. Guests were never told where to go and never needed to be. People walk along water without being told to.

Source: public information published by lamodeenimages.

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