Audemars Piguet Feminine Collection Review: Deva Danae Givrine
Deva, Danae, Givrine
Audemars Piguet Feminine collection comprises three lines – Deva, Danae, and Givrine – and forms the high-jewelry department in the Swiss watchmaker's manufacture. Each of the lines is a miniature collection with its own distinct design and character.
All three use precious metals and diamonds, the two most expensive (usually) materials employed in the industry, in creative, highly original ways. In an important tech deviation, Deva and Danae encase a quartz movement, while Givrine features a hand-wound caliber. These ostentatiously elite watches exhibit, apparently as a rule, good taste and striking vision.
Deva is arguably the most conventional of the three: the collection feature square-cased watches with only a slight (but characteristic) bend. Mother-of-pearl dials are devoid of almost any embellishments, while hundreds of diamonds decorate the case; the paved model is completely covered with stones.
The lugs and the cylindric attachment that they morph into form an opening that serves as an anchor for the strap. These cylinders, set with small diamonds, resemble a rolled parchment – a clever referral to an antique form of storing written information; the entire set-up of the strap, fastened by buttons, of the lugs and the parchments, and the case itself, reminds of a miniature ladies' handbag.
The openings, or rather the windows, become an additional decorative element – an fashion-minded embellishment that conjures notions of high class and elegance.
Danae and Givrine
Danae is firstly a jewelry piece and only secondly a watch. The piece consists of a golden box, the openworked lid being set with several branches – made of gold and diamonds – and revealing a very simple but elegant watch when opened.
Danae is available in three colors, black, orange and pink, each color model having a different pattern. I think that the complex process of time reading, coupled with the elaborate and costly frame, refer to the process of seduction. Indeed, the openworked lid echoes the bars of a prison, the watch being trapped inside. It's not obvious, however, what these watches wish to trap: time, love, or maybe both.
Givrine is not as understated as its counterparts. It literally writhes with passion, golden tongues of flame encompassing the case, invading into the mother-of-pearl dials. These intense, bold designs state their femininity with force and finesse at the same time; each tongue is a delicate cone, yet combined together they form a living organism, and octopus, or perhaps Medusa's head – the object of their desire being, obviously, time itself.
Givrine arouses mystical, chaotic associations of lost control, and it seems to conceal, while itself being beautiful, a promise of something beyond beauty.
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