Made of gold and engraved with an eye of Horus, it was a talisman for the Egyptians who could not part with it once worn, like a sacred ritual. In steel, it is a sign of belonging for the Sikhs, called Kara - 4th of the five outer symbols - it symbolizes humility, infinity and belonging to the divine. It was the object of defence for the inhabitants of the Solomon Islands who wore a very large bracelet as a shield or for the Melanesians who added long animal hair to it to cover their limbs. The bracelet even became an offensive weapon in some tribes, the heavy brass rings becoming projectiles in the Congo, the metal bristling with saw teeth in Malawi. Sewn from seeds, pods, skins filled with shells, the bracelet became a musical instrument with a magical vocation in shamanism.
The bracelet had almost disappeared from Europe with the fall of the Roman Empire and the barbarian invasions. It reappeared timidly in the 16th century, reintroduced by the sublime Diane de Poitiers (the famous bath scene) before being completely rehabilitated under Louis XVI, a period from which it became more and more attached to women's arms. It served as an incredible playground for late 19th century jewellery with the achievements of Falize, Fouquet or Massin .
The bracelet has since emancipated itself from a deliberately superior class, becoming once again universal, multi-material, multi-gender, age-less. From bracelets to Brazilian bracelets, from bracelets of strength to precious cuffs. le grammedraws its inspiration from the elemental form, drawing the bracelet into an essential expression, and making it a common aesthetic denominator that crosses history to become timeless. A sign of belonging or, on the contrary, of distinction, the bracelet makes the wearer's singularity resonate. It gives le grammeit its own consistency, bringing it back to the raw and initial strength of the weight of its material (925 silver and 750 gold), to give it back its meaning, and to open up the field of instinctive and universal emotion.