No matter what the prevailing artistic movement of the time; whatever a woman has been; from La Garconne of the twenties, to the colt-like grace of the sixties nymphet, despite world wars and national woes and the passage of over one hundred and thirty years, Boucheron has always been there, elevating the craft of the artist-jeweller to a legendary status.

For four generations now, the name Boucheron, has been synonymous with some of the world's most exquisite, captivating and imaginative jewels. So consistent has been the inspiration and immaculate craftsmanship of this Parisian jeweller, that amongst Boucheron creations from different periods can be found the various hallmarks of the jeweller's art since the time of France's Second Empire.

Lofty and prolific congratulation is but part of the legacy and responsibility Alain Boucheron inherited when he succeeded his father, Gerard, as Chairman of the company in 1980. Meeting with him amidst the plush green velvet walls and blue carpeting of the mansion showrooms in the Place Vendome, he appears surprisingly youthful. One could be forgiven for thinking that the Chairman's son had arrived to escort you to his fathers' chambers. And yet, at forty-seven, not only has Alain headed the firm for the past decade, he was also the treasurer of the Comité Vendome and Vice-President , and then President of the Comité Colbert. Alain's father Gerard, and a group of friends including; Jean-Jacques Guerlain and Christian Dior, founded the Comité Colbert in 1954. Today, Alain sits on the executive committee and plays an integral role in promoting the French Arts de Vivre to the world.

Alain was required to serve a long and varied apprenticeship before his father relinquished control of the company at seventy years of age. He was never pressured to join the business - on the contrary, he was encouraged to experience other professions. He spent six months with the insurance firm, Lloyds of London, and a further six months working for a stockbroker on Wall Street, but he found that the longer he stayed away from the jewellery trade, the more eager he became to return to it. After studying business management, marketing and communications, he commenced his formal apprenticeship at the age of twenty-four. A superb gold and turquoise ring he made for his sister is proof that he was able to master the skills of his trade.

"I think that when you are born into the fourth generation of a business, there is something in your blood that makes you happy to continue the tradition", says Alain of his creative heritage. "I compare it to a family of musicians: if there has always been music in your family, then you are never really happy unless you play music yourself...To me a beautiful gem can be just as intoxicating as music by the great composers".

Indeed, the artist-jeweller's of this family company have been at the forefront of the evolution of modern jewellery since the firm's founding father, Frederic Boucheron, won his first gold medal at the Exposition Universelle in Paris in 1867. From the position of "Sales Assistant", Frederic ultimately became the most awarded and acclaimed jeweller of his day. Variously described as a "valiant and glorious champion"; "the illustrious Dean of French jewellers; and even, 'the creator of French fashion", he is remembered as both visionary artist and businessman whom the great historian, Henri Vever considered to be "one of the most significant contributors to [his] trade". Whatever title best fits the man, his enduring legacy is both the inspiration and the trademark style of the Boucheron of the 1990's.

"My great-grandfather started his business in 1858, which makes us one of the oldest of the leading jewellery houses in France", declares Alain Boucheron. "He was one of the first to produce jewellery that was inspired by nature - eccentric pieces with flowers and leaves - and his workmanship was of the very highest standard.

"One of his most influential decisions was to show his work at many fairs and exhibitions, not only in Paris, but in Philadelphia, Vienna, Antwerp and also Moscow. This is how he became known throughout the world in a very short time, instead of his reputation slowly spreading from France to Italy and Germany".

Frederic began his apprenticeship with Jules Chaise, one of the most fashionable jewellers of the Second Empire. It was a time of luxurious extravagance, reflected in the heavy, ornate jewellery worn by the ladies of Napoleon III's court. When Chaise retired, Frederic decided to open his own store, but without the funds to mount a first collection utilising de rigeur magnificent stones, he challenged ostentation with intricate detail and innovation. Boucheron's gold lace, ribbons and diminutive bows wore immediately perceived as a new style.

When Napoleon III acquired the Cavalier Campana, a collection of thousands of pieces of Greek, Roman and Etruscan works which he exhibited in the Louvre in 1861, they influenced artists and jewellers enormously. Along with the discoveries at Pompeii and Cuvac, and the Egyptian influence brought about by the construction of the Suez Canal, jewellers sought to recreate for their royal clients, the glories of past empires. At the Exposition in 1867, Frederic Boucheron's faultless technique and exacting choice of materials saw him acclaimed as the master of the revivalist styles.

A procession of crowned heads came to admire the works of this new fashionable jeweller. The Comtese de Polignac, Her Imperial Majesty Alexandra Feodorovna - the wife of Tsar Nicholas II, Queen Isabel of Spain and the arbiter of elegance in Paris, Count Boniface de Castelane all came to appraise and purchase the new style, as did Sarah Bernhardt and Oscar Wilde who bought coloured rings for his male companion.

Word of Frederic's fame spread to the artisans of Europe as craftsmen from all over the continent came to Paris to seek his patronage and to participate in his research testing the limits of their creativity and versatility. They were not simply jewellers; but goldsmiths, engravers, diamond cutters, lapidaries and sculptors - all manner of gifted individuals who, together, produced an enormous range of jewels which were seen to represent the collective achievements of their era.

Through the 1870's, as Boucheron's premises in the Palais Royale continued to expand, Frederic indulged in his passion for all things natural, gaining the admiration and perhaps, envy of other jewellers many of whom would not have dared contemplate the execution of such innovative designs. Despite the high cost of their production, his elegant and colourful butterfly brooches, diamond-set feathers and rose pendants sold easily and Frederic was encouraged to experiment even further. He combined precious and semi-precious stones with a great variety of materials, form rock crystal and amber to tortoise shell and acacia wood. He decorated the handles of tea services with plique-a-jour enamel and achieved such delicacy with his chasing that one jeweller was driven to criticise his work condemning it as being "too fine and elegant". The magazine Joaillerie et Bijouterie described a crystal vase with a gold chimera in its centre which Frederic entered in the 1878 Exposition as "the most remarkable example of goldsmith's work produced by contemporary craftsmen".

Diamond prices world-wide were plummeting as new mines were opened on the cape in Africa. More than half of the production found its way to America, and so too did Boucheron, courting the new elite; the Rockefellers, Astors and Vanderbilts. Many years before Tiffany became a household name in the United States, the young company's Vice-President led his most famous and wealthy clients to Boucheron in Paris.

Meanwhile, personal accolades were also heaped on the ingenious Frenchman on both sides of the Atlantic. Frederic was awarded the Medal of Officer of the Legion of Honour for his contribution to the Centennial Exhibition of 1876 in Philadelphia. At the Paris Exposition of 1889, he would receive the Cross of an Officer of the Legion of Honour - as well as scooping the grand prize.

In 1891, Frederic participated in an exhibition in Moscow for the first time. The response from the aristocratic Russians to Boucheron's work was overwhelming and he was encouraged to return the following year for a Franco-Russian exhibition inaugurated by Grand Duke Constantine Constantinovich. Again he enjoyed a resounding success, heralding the opening later in the year of a Bucheron store in Moscow. The Moscow store became a showpiece, the city's finest and most elegant as Frederic transported the wood panelling, showcases and chandeliers from his Palais Royale store to Farrier's Bridge.

A keen observer of fashion and fancy, Frederic had for some time noticed that many of his wealthiest customers were moving from their homes in and around the Palais Royale towards the newly established area near Jean Louis Garnier's new Opera House in the west. Thus in 1893, Frederic opted to find a new location, closer to where he felt the luxury centre would re-establish. fortuitously, he found such premises in a private mansion in the Place Vendome, known today as one of the world's premier locales. This historic home on the Rue de la Paix remains Boucheron's headquarters to this day. Not without its own intrigue, the mansion had previously been inhabited by the Contessa di Castiglione, the most beautiful and mysterious lady of Napoleon III's court.

"When my great-grandfather came to the Place Vendome, it was constituted mainly of private homes", says Alain Boucheron recounting the tale. "He had early perceived the move from east to west and this decision of course has proved hugely successful today.

"But the Contessa herself, was a very interesting lady. Many people say that when the Italian Minister of Foreign Affairs wanted to know whether Napoleon III wanted to invade northern Italy, instead of sending a spy, he sent one of the most beautiful ladies in all of Italy, the Contessa di Castiglione, to try to find out by whatever means necessary. And indeed, she became one of the most prominent women in Napoleon's court.

"Later in her life she could not bear to be seen growing old and so lived as a hermit in this house during the day, having all her meals delivered by the top restaurants. She went out only after midnight and one night she simply disappeared and was never seen again...."

At the time that Boucheron moved to their intriguing new premises, Frederic was at the zenith of his career. For almost two decades, his concentration on naturalism and meticulous craftsmanship had been preparing for the advent of Art Nouveau. The return to natural materials was all the excuse he needed to blend opal with horn; gold and enamel with stone, wood with gold - emphasising the beauty of the materials and their artistic potential, over their market value.

The Exposition Universelle in 1900, was conceived as "an evaluation of the past century" as well as a showcase for the ideas of the new century. It was the largest exhibition held in Paris in fifty years and amongst the jewellers from around the world, Boucheron reigned supreme. The Revue de la Bijouterie proclaimed:

M. Boucheron is an 'old hand' who is forever young; he is a man of classical taste who has always been, and still is 'up to date'. He holds a predominant position in Jewellery Design. He has been a universal model for a long time, and all eyes are fixed on this shining star, around which countless satellites revolve.

One year later, Frederic called upon his son Louis, born in 1874, to join him in the business. With Louis working alongside his devoted assistants; George Radius, Francois Aubert and Rene Huot, Frederic left for Russia where the most loyal customers at his Moscow store, Grand Dukes Vladimir and Michael, Baron Frederic and Princess Eugenia of Oldenberg inaugurated Frederic's last international exhibition. In 1902, almost half a century after his first and only employer, Jules Chaise had misguidedly stated: "Mr. Frederic is an excellent sales assistant, but is not cut out to be the proprietor of a business". Frederic died, bequeathing to his son, both a vast fortune and a reputation overshadowed by no other jeweller.

Despite pursuing a simultaneous career with the Chamber of Commerce and the Bank of France, Louis Boucheron continued the destiny of the firm mapped out by his father; suggesting that ambition and creative genius were not so much the singular talents of Frederic as they were family characteristics. Louis opened Boucheron stores in London and New York and throughout the Art Nouveau and Art Deco Periods, Boucheron collections continued to stun judges and the public alike at exhibitions around the world.

Louis reaffirmed Boucheron as the jeweller par excellence and sponsored intensive research into the refining methods for cutting stones. It was the age when the lapidaries provided innumerable sources of inspiration for the designers in the form of new cuts: tablecut, baguette, prism and the trapezium. Then came the use of platinum, the invasion of the cultured pearl and an infinite number of ways to create different surfaces on gold and silver, by sanding, hammering, heating and the use of different acids. By showing that he was moving with the new influences and employing the latest technologies, Louis won the favour of his own, younger generation of clients who were eager to assert that the Great War had led them into a new, more progressive age.

"Louis led a double life between his financial career and his family business", says Alain. "He actively encouraged the designers to experiment and remain leaders in design and if you look at the report of the 1925 Art Deco Exhibition to which all the famous designers came there is a special section devoted exclusively to Boucheron, declaring how creative they were. This was the time when Coco Chanel was being almost fanatical about simplicity and, ironically, the more simple the dresses the ladies wore, the more they felt that they needed to wear ornate jewellery as a means of displaying their wealth.

"It was also a time when women were more responsive to jewellery of different colours than ever before. Louis used rubies, sapphires and emeralds in a variety of combinations and later combined them with other materials such as jade and lapis lazuli, amber and aquamarine. In this way, he was continuing the tradition of the design and workmanship being the primary consideration, with the size of the stones being secondary. In fact, he only ever used perfect stones, as did his father and I also insist upon this today. Perfection most often means that the stone is smaller and, really, I much prefer a perfect 10-carat Burma ruby to a 25-carat flawed stone. Likewise a first class emerald of about 10 or 12 carats which is a magnificent green - this is something very exciting!"

Soon after another flood of accolades swamped Boucheron - this time at an exhibition in the Musee Galleria - Louis was entrusted with the resetting of a treasure, the likes of which had not been seen in the West for centuries. The Maharajah of Patialia, who reigned over the Punjab in India, arrived in Paris accompanied by forty servants, twenty of his favourite dancing girls and six metal treasure chests which were protected by a dozen fierce looking guards. The treasure was later estimated to have been worth at least 1.8 billion francs - astronomical indeed, but a fraction of that which awaited Louis Boucheron's appraisal soon after.

In 1931, Louis was invited by the Shah of Iran to evaluate the treasure of ancient Persia - the treasure of the Thousand and One Nights. In his book Le Guide des Pierres Precieuses, Alain Boucheron writes of the astounding trove:

'For a long time, it had been tempting to believe that this treasure existed solely in the fertile imagination of chroniclers. It was only when a few sumptuous stones left Persia - often in the form of diplomatic gifts - that people were reminded that the treasure was not imaginary...Until his death in 1959, my grandfather had to face questions from countless people who wanted to know how much the treasure of the Thousand and One Nights was worth. Naturally, he never gave them an answer. One day however, perhaps because he was irritated by the persistent questions, he let slip the only allusion he ever made, even to his closest relatives, of the value of this notorious treasure: 'Not one of these stones ever becomes more beautiful after it had been given a price!'

Alain's father, Gerard joined Louis in the business in the mid-thirties, as fashion and jewellery were becoming more inextricably linked. Previously an advocate of fake jewellery, Coco Chanel returned to 'real' jewellery and conceived the idea of convertible jewellery which became the basis of the most original and attractive creations during the inter-war years. Boucheron applied himself to this new phenomenon with great success, introducing secret hinges and joints into necklaces which could then become bracelets, clips pendants or tiaras. In addition, Louis and Gerard expanded enormously on their watch range begun before the war and produced a multitude of cigarette lighters and lipstick holders. It was indeed a progressive age, but one that was also leading the world into another war.

Barely two years after the end to the devastating hostilities of World War II, Christian Dior brought further enlightenment by launching the fashion industry into a new era. He called for a return to unabashed femininity, long skirts, cinched waists and narrow shoulders. His emphasis on themes from nature, referred to in collections titled; 'Open Tulip', 'Lily of the Valley', and 'Profile of Autumn', delighted the firm of Boucheron as it coincided with the traditions that had nurtured it through generations of change.

Gerard Boucheron mobilised the company and took to the world's stages again: Egypt, Beirut, Rio de Janeiro, Caracas, Lima, Mexico City and Saudi Arabia. The glory of the gem was much appreciated in these disillusioned post-war times, as Le Journal wrote:

The entire world had shuddered as Nazi boots tread Parisian soil and thousands of lights in the City of light were extinguished in mourning...the nightmare is well and truly over...Mr. Gerard Boucheron has arrived from the Place Vendome with a collection of jewels that are true masterpieces of art and beauty...the appreciation that our elite naturally reserves for the ambassador of French taste that Gerard Boucheron undoubtedly is, convinced him to return to Egypt this year with a veritable paradise: precious stones mounted in brooches, wristwatches, necklaces, earrings and compacts - the value of which never diminishes.

Through his distant travels, Gerard brought to the firm a myriad influences and impressions of colour which gave birth to a profusion of jewels and accessories. Research and experimentation got underway again in the workshops of the Place Vendome and the jewellery took on new dimensions with unexpected contrasts and fine nuances of colour and form. Such was the brilliance of Boucheron designs under Gerard's direction that one commentator was inspired to write, "The most beautiful gown is only a pretext for wearing this jewellery and acts as the jewellery's accessory".

"The quality of this firm's diamonds and precious stones remains unsurpassed...Boucheron has created more flowers and large bows to wear on lapels, where plique-a-jour enamel enhances the preciousness of gold", wrote another. "One would think these jewels were cut from old stained-glass windows..so many marvels it makes you dream! They demonstrate the influence of tradition in an industry where good taste presides over every creation".

For just on two hours, Alain has been discussing the great contributions to the art of jewellery made by his family before him; the full measure of which is contained in a 220-page, illustrated history of the firm which rests conspicuously on the desk between us. Similarly, one wonders how Alain feels the weight of his ancestors as he lays the foundations for future generations of the Boucheron story.

"Boucheron now has 132 years of history which means 132 years of heritage and culture which we live with and respect", he says. "My great-grandfather became very famous by being highly creative and inventing many new things. In art, your inspiration comes from your environment and in this sense our only permanent influence is change. He knew the importance of being ahead of the common rank and in our business today, it is just as important to be one of the first to start moving; to be the first to respond to the movement of the time. In doing so, I must ensure that I continue in the spirit of Boucheron".

In the last pages of his history of Boucheron, Four Generations of a World-Renowned Jeweller, author Gilles Neret writes, "Alain Boucheron arrived at the head of the firm with the conviction that times had changed...Equipped with managerial knowhow and marketing wizardry, the company chairman did not hesitate to rejuvenate the business and seek out new clientele, which has increased considerably. From a select band of devotees, the clientele has developed into a very wide public appeal indeed".

"The image of Boucheron has always been at a very high level, you could say, elitist", agrees Alain. "I want to maintain this image but at the same time, open our doors to new customers and make it easier for people to acquire a Boucheron product. We have opened new stores in Hong Kong, Cannes and Milan because today it is no longer possible to say to people in these places: 'Next time you are in Paris, you must come to Boucheron'. You need geographical accessibility to the brand".

Interestingly, Boucheron, in increasing their accessibility are not doing so by creating a less expensive boutique line. That is a compromise that is simply not a consideration. Rather, to increase the awareness of the brand, Alain has taken an interesting diversion - at least as far as the realm of strict haute joaillerie is concerned.

"In order to make it easier for people to buy at Boucheron, I could not produce jewellery of a lesser quality because this would amount to an industrial approach to manufacturing which is not part of our culture", says Alain affirmatively. "Instead, I decided to launch a perfume in a bottle shaped like a ring. This means that for a few hundred French francs, any woman can have a Boucheron ring in her bag. This is a message that Boucheron is an accessible brand and thus increases our notoriety".

"The perfume, as you know, has been a great success and has in no way compromised our image", he says. "When you enter this field, you must be logical and progress. You have to walk forward and avoid the pitfalls. On one side you have the risk of falling into the mass market and on the other side, you have the danger of becoming too elitist. It is an endless walk and you must watch your every step".

As if to assure us that Boucheron has simply diversified its interests and not strayed from tradition, Alain mentions that only a few years ago, he sold an emerald and diamond necklace, in the Boucheron image, to a lady in Paris for US$12million.

"That was an exciting deal", he says. "It is not so much the value of the piece - of course, you would prefer to sell a piece worth twelve million and not twelve thousand - but the real excitement is when the person in front of you understands what you are showing him or her. This way you can have an exciting deal over $20,000.

"You show somebody a stone and they quickly say, 'Isn't this stone a better green than the one before?' And then you show them a truly magnificent stone and their eyes light up in absolute amazement at the beauty. That is fabulous - when people share your pleasure".