Sterlé

Pierre Sterlé, a celebrated French jeweller of the mid-20th century, has seen a resurgence in appreciation for his exquisite body of work in recent years. While Viviane Jutheau's 1990 publication brought renewed attention to Sterlé's artistry, the foundational historical insights into his career are primarily drawn from Lucien François's 1961 work.

Following World War I, the young Pierre Sterlé found himself under the tutelage of his uncle, the illustrious jeweller Maynier-Pinçon. Maynier-Pinçon was a master craftsman known for supplying exceptional creations to Paris's most prestigious jewellery houses. As Sterlé's innate talent for jewellery design blossomed, he began crafting pieces for esteemed firms such as Ostertag, Boucheron, and Chaumet, all while honing his skills under his uncle's expert guidance.

In 1934, Sterlé established his own jewellery company, which flourished in the post-World War II era as Paris re-emerged as a global luxury epicenter. His success was bolstered by astute marketing strategies, including leveraging the prestige of iconic venues like the Opéra Garnier.

The 1950s marked the zenith of Sterlé's fame and success. A hallmark of his craftsmanship was the 'cheveux d'ange' or 'angel's hair' technique, where he intricately wove and braided gold wire into dense, chain-like sections to create articulated fringes that adorned his jewellery designs since the introduction of this technique in 1957. Renowned for his exceptional metalworking skills, Sterlé masterfully combined yellow and white gold with platinum to craft intricate, textured surfaces. Drawing artistic inspiration from portraiture and nature, he infused his designs with narrative and symbolism. This distinctive aesthetic, characterized by masterful craftsmanship, sophisticated material pairings, and innovative gemstone usage, cemented Sterlé's status as a leading figure in contemporary jewellery design during this period.

However, the subsequent decade saw Sterlé's commitment to quality over cost become increasingly challenging from an operational standpoint. The oil crisis of 1973 signaled the end of the post-war luxury boom in France, prompting Sterlé to sell his stock to Chaumet. Recognizing his exceptional talent, Chaumet invited Sterlé to remain with them as an in-house jewellery designer, a role he fulfilled until 1978.