Summarize this content to 2000 words in 6 paragraphs in Arabic \u201cIt\u2019s my favourite place to meet in Paris,\u201d says the LA-based jewellery designer Sophie Buhai as she sinks\u00a0into a striped velvet sofa in the bar of L\u2019Hotel in the Saint-Germain-des-Pr\u00e9s district. A favourite of Elizabeth Taylor and Serge Gainsbourg, and famously where Oscar Wilde spent his final days, the hotel is steps\u00a0from the legendary Galerie Anne-Sophie Duval, a\u00a0staple in art deco and 20th-century decorative arts since its opening at 5 quai Malaquais in 1972.On 6 March, Buhai will present a collection that sits at the intersection of jewellery and design as part of the Jewellery Objects exhibition at the gallery. The event, hosted\u00a0by Julie Blum, who took over the gallery following her mother\u2019s death in 2008, marks both the 10th anniversary of the launch of Buhai\u2019s brand and the reopening of the gallery. Its renovation was entrusted to the revered French architect and designer Sylvain Dubuisson. \u201cThis revamp has been a comprehensive transformation, reorganising the gallery with larger rooms and partially restoring it to its original layout while also adding an extension to the existing space,\u201d says Blum, a brunette with an undone Parisian elegance seated next to Buhai, who embodies old-world America.\u00a0The collection represents a significant milestone for Buhai, who closed her womenswear brand Vena Cava in 2013, then launched the eponymous jewellery label she now runs with CEO Josh Sussman, who is also her husband. She\u2019s become renowned for her sterling-silver creations that exude a modernist-inspired poetry. This new body of work features 19 one-of-a-kind and limited-edition pieces at a higher price point than she has offered in the past (from $3,000 to $15,000). \u201cThis project was all about challenging both myself and the artisans I work with, pushing the boundaries of scale in my pieces, introducing new materials and reviving old intricate techniques such as Japanese urushi lacquer,\u201d Buhai explains. \u201cWhether you\u2019re designing a lamp or a necklace, it\u2019s a matter of switching mediums while keeping the intention of creating meaningful objects the\u00a0same.\u201d\u00a0Collection highlights include a minaudi\u00e8re and a bud vase crafted using the black urushi lacquer technique, accented with stones sourced from the Tucson Gem, Mineral & Fossil Showcase in Arizona; a magnifying glass\u00a0where brushed sterling silver, bronze, rock crystal and\u00a0lackened sterling silver converge in a surrealist nod to Dal\u00ed; a sterling-silver pillbox adorned with carnelian; a toothpick case; and a curved letter opener. The pieces are whimsical yet showcase impeccable craftsmanship \u2013 they are objects that are immediately tactile. \u201cWe talked about how, in today\u2019s world, we\u2019ve lost the intimate relationship with our daily objects,\u201d says Blum. Buhai hands me the\u00a0signature Donut ring she is wearing, demonstrating how\u00a0the\u00a0precise weight of a piece is\u00a0essential to the tactile\u00a0experience of wearing it.Buhai and Blum first met in 2022 and hit it off immediately. They share a similar personal history and a passion for the decorative arts \u2013 particularly the art deco movement, which is enjoying a revival in its centennial year. Buhai, who\u2019s known about the gallery ever since she started coming to Paris to show her collections, describes Galerie Anne-Sophie Duval as a \u201cmandatory stop\u201d in the city, almost like going to a museum.\u00a0\u201cI walked in and there was this stunning exhibition about lacquer,\u201d recalls Buhai. \u201cI introduced myself to Julie and she gave me\u00a0a book on lacquered jewellery \u2013 that\u2019s how our conversation started.\u201d According to Blum, the two share \u201ca\u00a0sensitivity for function and craftsmanship that defines a\u00a0piece, but also a shared taste for objects that are incredibly sophisticated \u2013 almost like jewellery \u2013 even when they stem from the ordinary. I felt that Sophie\u2019s work\u00a0perfectly embodied this idea of elevating everyday objects into something special.\u201d\u00a0What\u2019s compelling about art deco is its freedom \u2013 It\u2019s all about dialogue and exchangeBlum, who grew up on Paris\u2019s Left Bank and lived in London between 1997 and 2008, comes from a line of female gallerists and antique dealers. In the early 1960s her grandmother Yvette Barran founded a gallery dedicated to art nouveau; 1972, the year Anne-Sophie Duval established her gallery, was pivotal for the antiques market: the fashion designer and collector Jacques Doucet put his collection of\u00a0art deco furniture up for auction at H\u00f4tel Drouot, sparking enthusiasm for the avant-garde works of Pierre Legrain, Eileen Gray and, later, Jean-Michel Frank. That same year, Duval shook up the art market by inviting Karl\u00a0Lagerfeld to design her booth at the Biennale des Antiquaires in Paris, where, for the first time, art deco was\u00a0presented alongside classical art.\u00a0When Blum took over the gallery in 2008, the space had become an institution, known for celebrating designers such as Pierre Chareau, Alberto Giacometti and Andr\u00e9 Groult. Patrons include Marc Jacobs, Anthony Vaccarello, Pieter Mulier and Hedi Slimane. \u201cI felt I had to continue what she had built,\u201d says Blum, whose background is in law and architecture. \u201cBut that\u2019s also when I realised I knew more than I thought. I think that\u2019s thanks to the intuition passed down from my grandmother and mother \u2013 a sense of knowing when something is the right piece.\u201dBuhai\u2019s aesthetic was informed by her upbringing in Los Angeles. \u201cIt\u2019s very much an art deco city \u2013 different from Paris, of course \u2013 but heavily developed in the 1920s and \u201930s, with a huge influence of early modernism. It\u2019s always been part of my visual landscape.\u201d From an early age, she was inspired by the women in her family. \u201cThey were all strong women, my mother, grandmother and her sisters, all wearing big sterling-silver jewellery. Not the typical diamonds or pearls, but bold, modernist pieces. When I started my brand in 2015, most women were wearing smaller pieces. It felt natural for me to explore sterling silver, not just because of my family, but because it\u2019s what our artisans in Los Angeles do best.\u201d\u00a0For the past decade, Buhai has carved out \u201cthis middle space between design and jewellery making\u201d. While her hoop earrings and delicate jasper collar necklaces have a cult following among fashion editors, her expanding line of\u00a0objects, from pocket mirrors to cigarette cases reminiscent of the Vienna Secession, is also gaining fans. The label is stocked by fashion outposts Dover Street Market and Net-A-Porter, as well as art institutions such as\u00a0the New York Museum of Arts and Design, and Trevor Cheney Gallery in Los Angeles.\u00a0The Paris show aligns Buhai\u2019s work with the traditions of art deco. The objects will be displayed with furniture and antiques curated by Blum, such as red lacquer nesting tables by Katsu Hamanaka and a parchment-lacquer gu\u00e9ridon table by Marcel Coard. \u201cWhat I find most compelling about art deco is its freedom: the fluidity between genres\u00a0and disciplines, chiefly the collaborations between artists, and the importance placed on materials and craft. It\u2019s all about dialogue and exchange,\u201d says Blum.\u00a0The women hope, as Blum puts it, that the show will offer a fresh point of view on the period, \u201cinviting the younger generations of artists and designers to engage with it and see what they take from it\u201d. In essence, Jewellery Objects is set to encapsulate the renewed spirit of art deco while giving a flavour of the next 100 years.\u00a0<\/p>\n","protected":false},"excerpt":{"rendered":"
Summarize this content to 2000 words in 6 paragraphs in Arabic \u201cIt\u2019s my favourite place to meet in Paris,\u201d says the LA-based jewellery designer Sophie Buhai as she sinks\u00a0into a striped velvet sofa in the bar of L\u2019Hotel in the Saint-Germain-des-Pr\u00e9s district. A favourite of Elizabeth Taylor and Serge Gainsbourg, and famously where Oscar Wilde<\/p>\n","protected":false},"author":1,"featured_media":203989,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[65],"tags":[],"class_list":{"0":"post-203988","1":"post","2":"type-post","3":"status-publish","4":"format-standard","5":"has-post-thumbnail","7":"category-culture"},"_links":{"self":[{"href":"https:\/\/globetimeline.com\/ar\/wp-json\/wp\/v2\/posts\/203988","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/globetimeline.com\/ar\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/globetimeline.com\/ar\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/globetimeline.com\/ar\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/globetimeline.com\/ar\/wp-json\/wp\/v2\/comments?post=203988"}],"version-history":[{"count":1,"href":"https:\/\/globetimeline.com\/ar\/wp-json\/wp\/v2\/posts\/203988\/revisions"}],"predecessor-version":[{"id":203990,"href":"https:\/\/globetimeline.com\/ar\/wp-json\/wp\/v2\/posts\/203988\/revisions\/203990"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/globetimeline.com\/ar\/wp-json\/wp\/v2\/media\/203989"}],"wp:attachment":[{"href":"https:\/\/globetimeline.com\/ar\/wp-json\/wp\/v2\/media?parent=203988"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/globetimeline.com\/ar\/wp-json\/wp\/v2\/categories?post=203988"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/globetimeline.com\/ar\/wp-json\/wp\/v2\/tags?post=203988"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}