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It comes in waves: Tiffany & Co.'s Blue Book 2025 looks to the sea

It comes in waves: Tiffany & Co.'s Blue Book 2025 looks to the sea

Vogue Singapore08-07-2025
The depths of the sea contain a multitude of mysteries. It was a source of fascination for Jean Schlumberger, the late great Tiffany & Co. designer, whose aesthetic and outlook on design continues to influence the American jewellery brand. This year, the brand is dedicating its Blue Book collection of high jewellery to the theme of a Sea of Wonder.
The collection's spring chapter was introduced in New York in April, with a summer chapter to follow. In its first outing, Tiffany & Co. explored ideas such as oceanic flora and plants, imagery of seahorses, sea turtles, sea urchins and starfish inspired by archival Schlumberger designs, and waves.
Nathalie Verdeille, the chief artistic officer of jewellery and high jewellery, said in press notes that these creations weave a story of oceanic wonder, while also exemplifying Tiffany & Co.'s love of pushing the boundaries on creativity and savoir faire. 'Drawing inspiration from Jean Schlumberger's fascination with the sea, our house's pioneering spirit endures, driving us to reinvent archival inspirations from a modern perspective.' Ocean Flora earrings in platinum, set with a pair of unenhanced emeralds weighing over 3 carats total, and with diamonds Courtesy of Tiffany & Co. Ocean Flora ring in white gold, set with a cushion-cut 16.5-carat Type IIa DIF diamond, and with diamonds Courtesy of Tiffany & Co.
Tiffany & Co.'s deep sea story opens with the Ocean Flora jewels, in which marine plants bloom and sway in an undersea garden. A necklace, earring and ring parure is set with verdant Zambian emeralds, while a set of diamond-forward jewels have gemstones mounted on delicate tendrils that suggest movement. A noteworthy standout: a ring set with a Type IIa DIF cushion-cut diamond weighing over 16.5 carats, so substantial that even its setting prongs are pavéd.
From flora to fauna, the collection moves into sea creatures touched by the influences of Schlumberger's style. Verdeille, who joined Tiffany & Co. in 2021, has proven a deft interpreter of the late French designer's archives. Her creations draw from the past, then depart in a modern way to create a whimsical style that is distinctly Tiffany. Seahorse brooch in platinum and yellow gold, with diamonds, sapphires, blue zircons, and moonstones. On background, an archival advertisement for a Jean Schlumberger seahorse design. Courtesy of Tiffany & Co.
The Seahorse chapter, for instance, closely references Schlumberger's brooches from 1968. Verdeille, however, has introduced unusual gemstones and colours to create an enthralling palette. Blue zircons—an undersung coloured gemstone and not at all the same as cubic zirconia—are the star in this chapter. They bring a gentle undertone of colour with a bright sparkle, contrasted with the intensity of sapphire cabochons and accented with opalescent carved fluted moonstones. The Starfish jewels reference a 1956 Schlumberger design, reimagined as tendrilled, textured sea creatures set with Mozambique rubies. Courtesy of Tiffany & Co. Starfish ring in platinum and yellow gold, set with a cushion-cut unenhanced Mozambique ruby of over 6 carats, and with rose- and brilliant-cut diamonds. Courtesy of Tiffany & Co.
In the Starfish designs, these aquatic creatures are realised with naturalistic curves. Their tough and spiny exteriors are evoked with brilliant- and rose-cut diamonds, the former to bring sparkling light and the latter for a softer, geometric diffusion. The centres of these starfish are set with unenhanced rubies that, according to chief gemologist Victoria Reynolds, 'possess this gemstone's most sought-after qualities: a strongly saturated red colour with a splash of fluorescences that is further enhanced by their high clarity'. Urchin necklace in platinum and yellow gold, set with a step-cut Fancy Intense Yellow diamond of over 18 carats, with yellow and white diamonds. Courtesy of Tiffany & Co.
Sea urchins, meanwhile, visit Schlumberger's favoured palette of white and yellow. Here, it's realised as a suite of incredible yellow diamond jewels that incorporate the designer's signature rope motifs in gold to create texture. This chapter also sees the high jewellery revival of Schlumberger's famed paillonné enamel bracelets, which were a favourite of patrons like Jackie Kennedy and Bunny Mellon. Wave earrings and necklace in white and yellow gold, set with an enchanting array of blue and green cuprian elbaite tourmalines. Courtesy of Tiffany & Co.
Tiffany & Co.'s spring chapter of Sea of Wonder closes on the theme of Waves. Imagine the ever-changing forms of moving water, and the ways that light can play with colours and reflections. That will explain, then, the incredible range of cuprian elbaite tourmalines—and a Paraíba tourmaline on a cocktail ring—set into this suite of jewels that gives it an entrancing lagoon colour. The movements of water, meanwhile, are achieved with graphic rows of diamonds that curve their own way, rather like a wave that has broken and made a splash.
Vogue Singapore's June 2025 'Gold' issue is available on newsstands and online.
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Interview with world-renowned photographer, Steve McCurry on being a visual storyteller and documenting the human experience
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Interview with world-renowned photographer, Steve McCurry on being a visual storyteller and documenting the human experience

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Steve: I was always interested in art. Then when I was 12, I saw a Life magazine with a story about the monsoon — the Indian monsoon — and I was intrigued. I thought that that's incredible. I'd love to see that myself, and I'd like to go to India. It seemed like a really fun place. And then when I was 19, I went to live in Europe for a year and I was kind of just travelling. After that year in Europe, I thought to myself, whatever I do in my life, I want to travel. So I went back to school, and I'm was kind of searching for something to do. And then I thought, well, filmmaking would be a good way to achieve this. So I started studying filmmaking. And in the process of studying filmmaking, I rediscovered photography and decided that it was a way that I could travel, create some art, and hopefully make a living. Following which, I worked in a newspaper and then saved my money, went to India, and spent two years there. So that was the beginning, but I thought that I wanted to have a life of travel and creativity. And so it was that kind of the journey, and Asia was first on my list, although I had travelled in Africa, Europe and Central America. The trip to Asia, as I previously said, was two years; and then the two years turned into five, and then 10, and wow… I kept going back. I was everywhere in Asia; I went to every country, with the exception of, I would say, Brunei. I just was very attracted to that part of the world. And here we are. Adele: How does someone make a living out of photography, especially in the beginning of their career? Steve: Well, that's a really difficult question, and I'm not sure how much of this you want to include, because it's the raw truth, the naked truth; the ugly truth is that it takes a lot of work, and a lot of people aren't prepared for that, or don't want to do it, and that's okay. I mean, actually, it might be better to have a comfortable life, work nine-to-five, go home and relax. That's very attractive, because that's more predictable. Whereas photography, not only are you working all the time, there's no guarantees about anything, and even if you work really hard, still, there's no guarantee. So it's really scary in a way. And I'm not sure if this is true, but I think maybe it's even more difficult now than it was when I started. But it was never easy. For me, I was willing to work as hard as I needed to, and to get to where I wanted to go. And so there's a lot of sacrifice and struggle; there's pain and disappointment and rejection, but I just was willing. I just wanted to push ahead with persistence, and if you Google persistence, there's a poem or something that sums up everything you want to know about photography. [NYLON: We've reached out to McCurry's team to get the quote he was referring to. 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You don't need it all the time, but when the situation calls for it. When I was shooting film, most of my work was with prime lenses; but I haven't used a prime lens in years and years. The quality of the Zooms now are better than they were years ago, for sure. Maybe the prime lenses are slightly sharper than my Zoom, but the lenses are so good, I don't care. Adele: Is there a particular focal distance you use when you're shooting portraits? Steve: Probably 90. It depends on the situation right? If it's sort of an environmental portrait, then it probably doesn't matter, because I could even shoot potentially at a 24. You have to be careful of the distortion and all that with the wide angle, but if you're back far enough, then 24 could be a great solution. But I would say, if I'm working in much closer, I'd probably go to a 90 maximum. I would love to go to 135 — that'd be great, but that would be heavy. In the old days when I was on the street, I had two cameras, and I had a lot of film. I'd probably even have a third lens, but now, one camera, a couple batteries, cards, done. I also used to wear that photo vest with film and that was weighing me down; but now it's just kind of minimal… streamlined. The main point really is that if you're out for a session in the morning, and then you're out for another session in the afternoon, say, from three to dark, you need to be agile and comfortable, and you still need to have a high energy level, absolutely. And if you have a lot of stuff, you start to slow down and it's tiring. If you're light and agile, just pair your shoes, and boom… you can work right until the end of the day. Fantastic. Steve McCurry in Wetzlar for Leica's 100th Anniversary event. Photo taken by Ng Choon Jen. Discover more about Steve McCurry and his work on his official website at and follow him on Instagram @stevemccurryofficial. 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Pamela Anderson, reportedly dating Liam Neeson, says he puts her at ease during The Naked Gun filming, Entertainment News
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Pamela Anderson, reportedly dating Liam Neeson, says he puts her at ease during The Naked Gun filming, Entertainment News

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Ballard actress Maggie Q learnt from Jackie Chan and Tom Cruise's work ethic

Sign up now: Get ST's newsletters delivered to your inbox Maggie Q plays a detective who takes over the cold case division at the Los Angeles police department in Ballard. NEW YORK – More than 20 years ago, Hong Kong cinema legend Jackie Chan saw something in a young model-turned-actress named Maggie Q, and decided to sign her to his management company and train her to become an action star. Now, the Asian-American performer is back in the spotlight with her first high-profile role in more than five years, headlining Ballard, an acclaimed police procedural series streaming on Prime Video. And the 46-year-old says witnessing the ferocious work ethic of movie stars such as Chan and her Mission: Impossible III (2006) co-star Tom Cruise continues to shape her professionally today. A spin-off of the cult Bosch crime shows (2014 to 2025), Ballard – which has a 100 per cent critics' rating on review site Rotten Tomatoes – follows Renee Ballard (Q), a detective with a chip on her shoulder who takes over the cold case division at the Los Angeles police department. At a recent screening in New York, Q – whose last major TV roles were the action thriller Nikita (2010 to 2013) and political drama Designated Survivor (2016 to 2019) – says it was an honour to portray a police detective. The source material for the show, the Renee Ballard crime novels by best-selling American author Michael Connelly, were based on a real 30-year female police veteran whom Q spent time with on set every day. 'And there are so many qualities about her that I don't possess, but was able to bring to Ballard – because as a detective, there's a certain amount of not just patience but also fortitude,' says Q, whose full name is Margaret Quigley. Her Vietnamese mother and Irish-Polish American father met during the Vietnam War. Maggie Q in Ballard. PHOTO: PRIME VIDEO 'You have to keep your eye on the prize and it takes years, so you can imagine the dedication. You're talking about a detective who will spend 10, 15 years just trying to bring one family a modicum of peace after something tragic.' Q left her home in Honolulu, Hawaii, in her late teens, and moved to Tokyo and Hong Kong to become a model. She made the leap to acting. Impressed with her turn in Hong Kong action film Gen-Y Cops (2000), Chan gave her bit parts in his American action movies Rush Hour 2 (2001) and Around The World In 80 Days (2004). 'He's one of the hardest workers I've ever seen,' says Q of the 71-year-old, who made his mark in Hollywood with the Rush Hour action comedies (1998 to 2007) and voiced Master Monkey in the Kung Fu Panda animated franchise (2008 to 2016). 'I saw him and went, 'Oh, it takes 1,000 per cent. Not 100 per cent, not 200 per cent. Everything you have.' 'And for my early days, to be able to witness that type of work ethic, I think that cemented something in me, and I'm a hard worker already,' adds the star, who is married to Vietnamese-American former hedge fund manager Curtis Macnguyen, 56. When she took on her first big role in an American film, playing an intelligence agent in the spy thriller Mission: Impossible III, she experienced the same thing with American actor Cruise, 63. 'Same work ethic, and both very successful people. And I got to see very early on what that took,' says Q, who went on to appear in the Divergent science-fiction film trilogy (2014 to 2016). US actress Maggie Q attends the Los Angeles premiere of Prime Video's Ballard in California on July 9. PHOTO: AFP With Cruise, she also got her first close-up look at Hollywood megastardom when she shot her scenes with him. On their first day of filming at the Tiber river in Rome, Italy, 'there must have been at least 5,000 people lining the river just to catch a glimpse of him'. 'I was in a boat with him and I remember thinking, 'My god, the power of a movie star.' I didn't know what a movie star was until that film.'

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