✱ David MorrisHigh JewelleryParis
£165M
The bride. 55 pieces across 15 collections, a crew of sixteen, and two days in Paris.
Modernise the bride without spending three generations of legacy.
David Morris is a globally renowned, family-run house established in 1962: known for timeless design, flawless craftsmanship and extraordinary gemstones. Three problems at once. Lift engagement and visibility on the bridal and engagement pieces across high and fine jewellery. Bring a contemporary perspective to collections that are traditionally classic by design. And do it social-first, for the newly revamped David Morris website and Instagram.
A house founded in 1962 has a great deal to lose by looking current. The work had to read as modern without ever reading as a departure.
Every frame was drawn before it was shot.
Storyboards first, then animation and CGI built to the board. With this much value on set, nothing is improvised: the schedule, the budget and the release calendar all hang off the drawings.
Two days, sixteen crew, and the campaign behind the campaign.
Clients rarely invite you behind the curtain on work at this level. David Morris did, so we documented the making of the campaign as a content stream in its own right: a hero film following the creative process, BTS lifestyle photography capturing styling, the crew and Charlotte Tilbury on set, and four reels built to inform as much as entertain.
In high jewellery the craftsmanship is the story, and behind the scenes is the most direct route to it. This became a pillar of the social-first strategy rather than an afterthought to it.
One shoot. A quarter’s worth of content.
Following the release, several high-jewellery pieces sold for an undisclosed amount.
Landing page of the house.
The hero film runs on davidmorris.com, the first thing a client sees before anything is sold to them. Not a campaign that lived for a season on social: the front door of a house founded in 1962.
When you are commissioned for pieces destined for royalty, celebrities and high-net-worth clients, the foremost priority is the craftsmanship.
That priority does not stop at the bench. A shoot of this scale is a production, and it is run with the same care the pieces are made with: due diligence on every hand that touches a stone, discretion on set, and the time to light a single clasp until it reads properly. The work is in finding the detail inside the detail, the flash of colour through an emerald, the way a claw setting catches, the fold of silk that holds a necklace where it should sit.
Equally important is the commitment to modernity, representation and creativity in the work. As a family-run business, there is a special affinity in collaborating with generational family-run houses like David Morris.
Myles Jensen · Co-founder & Creative Director
Led by our founder at Jensen & Jensen, in collaboration with The London Jeweller.
