JEWEL PUR­POSE Muse Rowan Blan­chard shows off Reed Krakoff’s lat­est Tif­fany & Co. col­lec­tion

ROWAN BLAN­CHARD is the epit­ome of un­stud­ied glam­our in TIF­FANY & CO.’S lat­est cre­ations

InStyle (USA) - - Contents - by LAU­REL PANTIN pho­tographed by TOM ALLEN styled by VANESSA CHOW

While ac­tress Rowan Blan­chard may look her age, a youth­ful 18, her taste in jew­elry sug­gests a so­phis­ti­ca­tion well be­yond her years. “For the Golden Globes par­ties this year I wore the big­gest Tif­fany di­a­mond and tour­ma­line neck­lace,” she says. “I felt like I was play­ing the role of an older woman and those were the jew­els her hus­band bought her. I love the trope of glam­orous women with their di­a­monds on—it’s such a glo­ri­ous, campy im­age.”

The de­light she’s tak­ing is due in part to chief artis­tic of­fi­cer Reed Krakoff, who’s been charged with bring­ing in a fresh out­look and build­ing on the brand’s sto­ried 183-year his­tory (cue ref­er­ences to Break­fast at Tif­fany’s and New York City doyennes drip­ping in gems). He’s the eye be­hind the kinds of mind-blow­ing, ul­tra-spe­cial pieces we see on the red car­pet—like the stun­ning di­a­mond neck­lace Gal Gadot flaunted at the Os­cars this year—and the cheeky Every­day Ob­jects col­lec­tion, which is made up of use­ful goods with his sig­na­ture high-end spin (think: ster­ling sil­ver crazy straws). More than any­thing, how­ever, Krakoff wants his de­signs to be ap­proach­able. “Peo­ple aren’t look­ing to be told, ‘This is the way you wear di­a­monds in so­ci­ety now,’ ” he says. “In one of my first cam­paigns we shot Elle Fan­ning wear­ing a tiara and a hoodie as a way of show­ing that these things that are tra­di­tion­ally worn a cer­tain way are really meant to be in­ter­preted by the wearer.”

That sort of ef­fort­less style is what Krakoff con­sid­ers the hall­mark of Amer­i­can lux­ury, some­thing he knows plenty about as the for­mer pres­i­dent and ex­ec­u­tive cre­ative di­rec­tor of Coach and founder of his name­sake la­bel, which closed in 2015. Sub­vert­ing the idea of pre­cious­ness and pri­or­i­tiz­ing utility have al­ways been cen­tral to Krakoff’s de­sign phi­los­o­phy. “Amer­i­cans are all about util­i­tar­i­an­ism and ‘Form fol­lows func­tion,’ ” says the Con­necti­cut na­tive. “I really iden­tify with state­ments like that and al­ways have through­out my life in de­sign.”

Tif­fany’s lat­est of­fer­ing is called T1, a line of di­a­mond and gold jew­elry that evolved from the T mo­tif in­tro­duced in the ’80s by for­mer Tif­fany de­signer John Lor­ing. Char­l­ize Theron wore the col­lec­tion’s début piece, a rose gold and di­a­mond choker (pic­tured op­po­site on Blan­chard), to the BAFTAS this year. For Krakoff, Blan­chard per­fectly em­bod­ies the spirit of the new line. “Rowan has a time­less­ness and coolness that’s not too edgy but is mod­ern,” he says. “She has a loose­ness to her style, which is what we’re all about.”

Krakoff first met Blan­chard in 2018, when she was pho­tographed for Tif­fany’s Save the Wild col­lec­tion in sup­port of the Knot on My Planet cam­paign (100 per­cent of the pro­ceeds ben­e­fited the Wildlife Con­ser­va­tion Net­work). While Blan­chard takes care to ed­u­cate her­self on is­sues that mat­ter to her, like hu­man rights, gun con­trol, and en­vi­ron­men­tal pro­tec­tion, she no longer pub­licly iden­ti­fies as an ac­tivist. “I was talk­ing about things I care about from such an early age, it be­came the eas­i­est thing to sen­sa­tion­al­ize,” she says. Now she fo­cuses on putting her be­liefs into ac­tion rather than sim­ply voic­ing them on so­cial me­dia. Nev­er­the­less, her con­vic­tions are among the rea­sons Krakoff wanted to work with her on Save the Wild. And de­spite her re­luc­tance to let her prin­ci­ples de­fine her, she’s glad to be rec­og­nized for some­thing be­yond sur­face-level sparkle. “The other day two high-school-age girls came up to me and said, ‘We really ap­pre­ci­ate what you stand for.’ It is af­firm­ing when other young women come up to me and say that.”

That’s some­thing else Blan­chard has in com­mon with the brand: a fear­less­ness about speak­ing up. Most re­cently, Tif­fany took out a full-page ad in the Aus­tralian news­pa­per The Age call­ing on Prime Min­is­ter Scott Mor­ri­son to take “bold and de­ci­sive cli­mate ac­tion.” The brand also ran ads in The New York Times urg­ing Pres­i­dent Trump to keep the United States in the Paris cli­mate agree­ment. “Tif­fany has a long-stand­ing com­mit­ment to sus­tain­abil­ity,” says Krakoff, not­ing the com­pany’s ded­i­ca­tion to re­duce, avoid, and off­set its car­bon emis­sions; its trans­parency in sourc­ing di­a­monds; and its do­na­tion of mil­lions each year to phil­an­thropic causes through the Tif­fany & Co. Foun­da­tion. Whereas most ma­jor cor­po­ra­tions might shy away from tak­ing what could be seen as a po­lit­i­cal stance, Krakoff doesn’t back down. “There’s some risk in it, but the greater good has al­ways been what the com­pany re­sponds to,” he says.

Valentino dress. Tif­fany & Co. jew­elry.

Tif­fany’s Reed Krakoff in his New York of­fice. Groom­ing: Eloise Cheung for Ate­lier Man­age­ment.

Chanel dress. Tif­fany & Co. jew­elry. Hair: Shinya Nak­a­gawa for Artlist. Makeup: Sam Visser for For­ward Artists. Man­i­cure: Yukie Miyakawa for Wal­ter Schupfer Man­age­ment. Lo­ca­tion: Verōnika, N.Y.C.

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