A platinum and diamond tranche bangle, Juliette Moutard for René Boivin, Paris 1937

The fashion for voluminous bangles which spans most of the 1930s owes its origin to the new-found fascination for African tribal art and a series of exhibitions in Paris and New York.

This trend was further reinforced by the popularisation of North African jewellery by major society figures such as Nancy Cunard and Daisy Fellowes – first seen in the mid-1920s.

Nancy Cunard (1896-1965), British writer, heiress and political activist, photo montage by Cecil Beaton, 1929 | Cunard was passionate about the artefacts of African culture, and favoured large scale jewellery in ivory, bone, amber and wood. Although natural materials used by native crafts people, Cunard's appearance was seen as controversial at the time. She wore many bangles at once, covering both arms from wrist to elbow and this bold look was frequently caught, as here, by contemporary photographers. Inevitably, the acceptance and naming of Cunard's style by the fashion world, the 'barbaric look', normalised it and made it mainstream

The Boivin bracelet in Vogue, July 15, 1933 - 'Paris has been taken by storm by bracelets like these colossal Boivin ones'

We like this bangle very much indeed for its simplicity and purity of design: a stylish jewel designed by a woman for the newly emancipated women of her time.


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Further details: 
A tapered cuff bracelet of melon slice design, pavé-set at the front with round and single-cut diamonds, mounted in platinum

Comprising round and single-cut diamonds

Maker’s mark

Dimensions: 3 x 2 x 1 3/4″

Certificate of Authenticity from Françoise Cailles, dated November, 24, 2015, stating that the diamond tranche bracelet is René Boivin, 1937, from a design by Juliette Moutard based on an idea from Jeanne Boivin

cf. Cailles, Françoise, René  Boivin: Jeweler, London: Quartet Books, 1994. p. 174


For further information on the tranche platinum and diamond bangle: info@understanding-jewellery.com