High jewelry has historically been built on the art of capture: setting, enclosing, and securing the gemstone between platinum or gold prongs to force light to pass through it at a mathematically calculated angle. Half a century ago, an idea that seemed like a childish whim shattered this dogma of immobility. The original inspiration took root in an observation of nature: the sun’s rays filtering through the dense foliage of Germany’s Black Forest. From this purely organic vision, in 1976, the desire was born to free the gem from its metal shackles. The technical premise—allowing unset diamonds to slide between two sapphire crystals—posed a watchmaking challenge. The goal was to transform the empty space into a playground without scratching the surfaces or hindering the movement of the hands. The very first two watches resulting from this experiment featured a black onyx dial, creating a stark and hypnotic contrast. Fifty years later, Chopard revives the original tension of this kinetic concept by exploring the fine line between radical simplicity and unapologetic whimsy.
The austerity of onyx and the architecture of emptiness
To mark this 50th anniversary, the Geneva-based manufacturer is returning to the collection’s aesthetic roots. The new Heritage models resist any temptation to overdo it, returning to the collection’s original, austere palette: yellow gold for the warm radiance of the case, dark leather on the strap to anchor the watch on the wrist, and, above all, a deep black onyx dial. Here, black is not merely a backdrop. It acts as a unifying principle. It absorbs light to better isolate and highlight the random trajectory of the suspended stones, avoiding the pitfall of overwhelming opulence.
The collection is available in two case sizes, each reflecting a distinct approach to this precious timepiece. The 34-millimeter model is designed for a clientele who appreciate traditional mechanical watchmaking. Twenty-one diamonds move freely across its surface, while the sapphire crystal case back reveals a hand-wound caliber. This model establishes a silent dialogue between the joyful chaos of the front and the unyielding precision of the gears on the back. The 24-millimeter version, powered by a quartz movement and punctuated by nine moving stones, takes on a different role. More discreet, it steps away from the realm of the pure collector’s watch and shifts toward that of a day jewelry piece, designed to follow the natural movement of the arm without demanding special attention.
From Horological Ingenuity to the Language of Jewelry
The principle of the stone—trapped yet free—quickly proved too powerful to remain confined behind the hands of a watch. This anniversary highlights the concept’s versatility, now expressed through a series of structured pieces. Cufflinks, a signet ring, and even a tie pin that converts into a brooch reinterpret the language of gold, sapphire, and onyx. The geometry takes center stage, offering more architectural settings for these nomadic gemstones.
Among these pieces is a rectangular pendant, drawn from the 2006 archives. Its architecture has been subtly reimagined, with its interior volume expanded to increase the stones’ range of motion. This shift from the constraints of a watch dial to an autonomous jewelry system proves the concept’s validity. The diamond no longer derives its value from its cut or static weight, but from its ability to capture the moment and come to life at the slightest movement of the wearer.
The figure of the clown: when luxury allows itself a touch of audacity
While the geometric lines of the onyx evoke a certain severity, the house’s history encompasses a deeply emotional and playful dimension. The year 1985 marked the debut of the Happy Clown, a sketch jotted down by the young Caroline Scheufele. Her father, Karl Scheufele, then secretly had this design crafted as a gift for his daughter, transforming a paper fantasy into a precious pendant.
The return of this articulated figure is the absolute antithesis of a safe-deposit-box jewel. Crafted in yellow gold, the miniature figure features movable arms, legs, and a head. The house now offers it in two distinct styles. The first version combines the sparkle of moving diamonds with the vivid colors of emeralds, sapphires, and rubies. The second takes a more radical approach: a body entirely paved with diamonds, housing five dancing stones within its sapphire belly. This tiny circus performer, extremely complex in its craftsmanship, reminds us that technical virtuosity sometimes benefits from being concealed behind a self-assured innocence.
The Clash of Materials: The 1993 Revolution
The adaptability of the loose gemstone found its most sociological expression in the early 1990s. In 1993, Caroline Scheufele sent a quiet shockwave through watch trade shows by unveiling the Happy Sport. It was a rebellious move: pairing the nobility of the diamond with the raw functionality of steel. Until then, the haute horlogerie world had strictly compartmentalized materials. Steel was for action; gold and gemstones were for the salons.
The Happy Sport The First reissue revives this original transgression. Available in two slimmer diameters—26 and 33 millimeters—the new models feature Lucent Steel, an exclusive alloy, which is sometimes paired with yellow gold in two-tone designs. Powered by automatic calibers or quartz movements, these timepieces perpetuate the idea that a precious watch is not meant to dictate its owner’s attire. The case relinquishes its rigidity to serve the movement of the gemstones. Luxury is demystified to align with the rhythm of the day, without losing its allure.
Attitude Before the Object
The visual language deployed for this anniversary, strategically unveiled during New York Fashion Week, confirms this shift from the product to the attitude. Photographer Greg Williams’ lens and Manu Cossu’s direction focus on the faces of Bella Hadid and Liu Wen. The choice of this duo is no accident. It highlights a contrast in life rhythms.
On one hand, the American model embodies a kind of dazzling brilliance—an urban, spontaneous energy. On the other, the Chinese model exudes a quiet grace, demonstrating absolute mastery of poses and lines. These two temperaments act as a mirror to the watch mechanism itself: the union of the chaotic energy of the bouncing diamonds and the serenity of the setting that holds them in place. The New York-style set design emphasizes an obvious truth: the light that passes through the stone exists only by virtue of a human gesture. A gem set in place signifies status; a gem that dances captures the pulse of life.