The ballroom foyer at the Pan Pacific Orchard transformed into a fashion runway where we witnessed 50 models showcasing couture creations by Caroline Scheufele, the co-president and artistic director of Swiss luxury watch and jewellery company Chopard.
The evening featured a fashion show with models and friends of Scheufele walking the runway, showcasing the Red Carpet Collection and presenting stunning couture silhouettes. The collection aimed to create a unique and meaningful connection between jewellery and clothing.
Seated across from us was Scheufele, exuding pride — and rightfully so. She set the theme for Chopard’s extravagant soirée, with the venue adorned in decor celebrating various art forms. It marked a significant moment in Chopard’s history — the unveiling of Caroline’s Couture, a fresh couture collection designed to complement the jewellery creations of the Red Carpet Collection.
For Chopard fans, Scheufele is known for her stunning jewellery designs and has received recognition for her contributions to the world of high jewellery and watchmaking. Never one to rest on her laurels, Scheufele has embarked on a new chapter, skillfully intertwining jewellery and clothing.
She launched this collection to rave reviews at a fashion show during the 76th Cannes Film Festival this year. In this wardrobe that marries fashion and jewellery, intricate textures echo the art of gem setting, delicate artisanal embroidery and fabric, all in tandem with Haute Joaillerie.
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Setting standards
Scheufele, a passionate traveller, explores the world with a sketchbook for her jewellery collection, carefully documenting her experiences in diaries. Fuelled by inherent curiosity and open-mindedness, she taps into boundless creativity. From architecture and painting to literature, dance, music and cinema, every detail possesses the potential to spark her imagination and create spectacular pieces.
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Her inspiration for her couture collection is the same but different. Scheufele says: “I would start with the women themselves, probably and also from my background in jewellery. As you saw, some of the materials are inspired by collections like Precious Lace or Happy Hearts.”
In a statement, she explains: “Women in love with beauty — meaning true beauty, the kind that never goes out of fashion. Pure elegance. Clothes that can be cherished over time, worn in various circumstances and countless ways, without losing their value or relevance. A wardrobe is like a jewellery collection, which time makes more and more precious because they are accompanied by slices of life and carry experiences, memories and memorable moments. I wanted to transpose this approach from jewellery to clothing.”
Scheufele prioritises sustainability and ethical standards in every design, setting a benchmark in the luxury industry. Under her guidance, Chopard has championed the cause of responsible material sourcing and sustainable practices in jewellery and watchmaking. A noteworthy initiative spearheaded by Scheufele is the “Journey to Sustainable Luxury” programme, aimed at integrating responsibly sourced materials into Chopard’s creations.
She adopts the same ethos regarding her couture collection, grounded in humanitarian values. The embroidery for all of Caroline’s Couture pieces has been crafted by the Kalhath Institute in Lucknow, North India, established in 2016 under the direction of Maximiliano Modesti.
Scheufele adds: “When fortunate enough to lead a charmed life, it is only right to give back what you can for the benefit of others and thus create a virtuous circle. The Kalhath Institute is dedicated to enhancing the skills of artisans, passing on their exceptional expertise within India and establishing conditions that enable craftspeople to earn fair wages, precisely the steps we have been taking at Chopard for several years.”
Other initiatives include using ethical gold sourced from small-scale artisanal and small-scale mining operations, aligning with responsible and sustainable mining practices. Miners involved in these operations receive fair compensation for their work. Chopard supports the rigorous standards of Fairmined and Fairtrade gold certifications.
She emerged as one of the early advocates for sustainable mobility in the luxury sector about a decade ago. We asked her about the driving force behind this initiative. She says it all started when she met Livia, Colin Firth’s wife, in Los Angeles in 2011 during the Oscars when Colin won Best Actor for The King’s Speech. Scheufele adds: “We were having coffee in the morning, and Livia asked, ‘Caroline, where does your gold come from?’ I replied, ‘Actually, I don’t know. I mean, I don’t know the real true origin’.”
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Livia then explained that she was very much involved in sustainability in the fashion industry with a company called Eco-Age. Livia put Scheufele in touch with some NGOs working with miners… and that was how it all started. “When I returned home from my trip, I spoke to my brother [Karl-Friedrich] and told him that we should do something because luxury should be transparent. We should know where we get our materials, ensuring they’re ethically correct, not spoiling the planet and without involving children in the mines. He was 100% convinced and supported some foundations related to nature, such as the Alpine Eagle. That’s how it all began.”
Eco-Age operates in the sustainability and ethical fashion space, championing environmental and social responsibility in the fashion industry. Founder Livia Firth is renowned for her contributions to sustainable fashion, advocating for ethical practices within the sector.
Here are more of Options’ chat with Scheufele at the Chopard office in Singapore.
Can you share your design process, particularly in high jewellery? Do you typically start with acquiring the stones and then conceptualise the design? And in the case of couture, is it about securing the materials before developing the design?
Well, it depends on what I’m designing. If it’s a boutique collection, like the Happy Hearts, Precious Lace, or Ice Cube, it typically starts with a piece of paper and an idea. Then, the search for the material follows. On the other hand, the Red Carpet Collection often begins with the gemstones since they are unique pieces and collector’s items. You start with these stones and then develop the design around them.
Like fashion, it’s more about designing and then sourcing the material. However, in couture, we take a different approach. We develop the material with Chopard’s inspiration, whether the Chopard logo or the precious hearts and then design around that material.
Is Caroline’s Couture going to be an annual thing?
I will not follow the crazy calendar of the couture houses because I don’t know how to do it. That’s also why it’s not timeless; the fashion houses have to follow the seasons. I spoke to some of the designers. You have January, July and September, then the capsule collection. They’re constantly designing.
I will stick to my calendar without pressure and probably represent the second collection at Cannes next year. Meanwhile, I have added some dresses to the collection between Cannes because some were sold. It’s an ongoing process of creativity and adaptation.
Why did you venture into the seven arts for the Red Carpet collection?
Every year in Cannes, we have a theme for the collection. We explored themes like paradise, nature and love in the past. Last year’s theme was cinema, drawing inspiration from movies. I am an art enthusiast and avid art collector. The theme for the Red Carpet collection was quite apparent to me. When I first shared the idea with the team, I insisted on exploring all seven arts — music, sculpture, writing, cinema and more.
Initially, they [the team] were sceptical, but I said, ‘Getting inspired by music is not difficult.’ For instance, one of my favourite pieces in the collection is the dark blue sapphire necklace with feathers inspired by the art of writing. In the past, people used feathers for writing, like quills in England.
In the end, everyone, including myself, got very excited. We explored various art forms, from a necklace resembling a ballerina’s dress for dance to creating a colourful and diverse collection. It was a collaborative effort and the team did a fantastic job translating ideas from different arts into unique and vibrant pieces.
Creatives often go through dry spells, struggling to find inspiration. Are you familiar with this challenge as a creative person? If yes, how do you tackle these moments?
So far, nothing like that has ever occurred to me. I always have something in the back of my mind and sometimes even dream about creative ideas. I make sure to keep a pen and pencil next to my bed because often, when I wake up later, the inspiration might be gone. I jot down the idea, even if it’s just a single word. This helps me recall what I might have been thinking about.
For instance, I once dreamt about the word “women,” which led to a whole collection inspired by the song La Vie En Rose by Édith Piaf, centred around pink diamonds. I am lucky; I still have ideas flowing, and the creative journey continues.
Chopard’s jewels are reinterpreted in hand-painted sketches with fully embroidered sequins and crystals on delicate organza. Pale rose-red silk organza provides a background for meticulously applied signature jewellery design elements, such as the generously draped skirt with a heart-shaped corset
Strapless blue and black silk mini-dress entirely adorned with sequins, crystals and beads, dramatically finished with an organza bow train
Strapless amethyst-hued asymmetrically draped flowing silk-satin dress with a long slit
Strapless dark emerald-green silk-velvet mini-dress with high, straight neckline and corset, flowing into an asymmetrically draped ‘Paraiba-coloured” silk duchesse skirt
