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VAN CLEEF & ARPELS
OK kids, you can’t play with jewellery...
Van Cleef & Arpels has something in common with Younger & Bresson le & between the two proper names. Apart from that, absolutely nothing. Because Van Cleef & Arpels is a very grand house of jewellery. Their stores are not on just every street corner (unless you live on Place Vendôme, and even then…) In other words we’re talking about something exceptional – ultimate refinement.
About luxury, then (which is pretty commonplace around Place Vendôme), but also very much about poetry and a proven fondness for the “natural” (which is right away more specific). At this starting point we’d seem to be far away from the digital world, because, you’ll notice, there isn’t an immediate connection between pixels, templates and html language on one hand and “between-the-fingers rings,” poetic freshness and sublime jewels on the other.
So how the heck did Duke manage to succeed once again here? Answer: by creating an immersive poetic journey, making full use of digital’s potential, enabling us to go a long way in creating an exploration of the collections and the brand. You enter through a natural scene, then discover the remarkable creations. It flows, it’s enchanting (which is a good thing, because that was the goal) and while it’s easy to use, it was a lot less easy to achieve, technologically and graphically (but that’s invisible, so we’ll not go into details).
Every new collection has a new journey, each one just as dream-like and distinctive as the last. It’s a far cry from competitors who have a more rational approach, presenting sites more like a catalogue. Yet at the same time, it’s very logical (for once in this world): our unique approach was the least we could do for such an exceptional house of jewellery.
About luxury, then (which is pretty commonplace around Place Vendôme), but also very much about poetry and a proven fondness for the “natural” (which is right away more specific). At this starting point we’d seem to be far away from the digital world, because, you’ll notice, there isn’t an immediate connection between pixels, templates and html language on one hand and “between-the-fingers rings,” poetic freshness and sublime jewels on the other.
So how the heck did Duke manage to succeed once again here? Answer: by creating an immersive poetic journey, making full use of digital’s potential, enabling us to go a long way in creating an exploration of the collections and the brand. You enter through a natural scene, then discover the remarkable creations. It flows, it’s enchanting (which is a good thing, because that was the goal) and while it’s easy to use, it was a lot less easy to achieve, technologically and graphically (but that’s invisible, so we’ll not go into details).
Every new collection has a new journey, each one just as dream-like and distinctive as the last. It’s a far cry from competitors who have a more rational approach, presenting sites more like a catalogue. Yet at the same time, it’s very logical (for once in this world): our unique approach was the least we could do for such an exceptional house of jewellery.