Even though he sold his house to Eric Laporte in 1998, Jean Dinh Van's aura never ceased to soar and influence Dinh Van.
It must be said that the Breton, of Vietnamese origin, will have drawn from his many years spent under the Cartier flag a love for the purest material: silver first, but also solar yellow gold.
And it is the latter that he will bring to the fore, well before all the rest, when he lays the groundwork for his house in 1965. A brand that he will set up as a manifesto with a strong visual grammar, recognizable by first glance between Menottes, Maillons, Pi, Seventies or the Two Pearls that he thought up for Cardin, giving pride of place to variable geometry.
Under his stroke of genius, the circles become almost squares and the jewel becomes essential.
As he liked to recall: “My jewels are never a fantasy.
I would like them to be as necessary as a doorknob, with that extra emotion that comes from discovering a completely new object”.
Aphorisms that still resonate today, at the announcement of his disappearance.
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