Though Belgian-born, Claire Colinet developed her career within the artistic circles of Paris and being one of the most prolific author of chryselephantines during the Art Déco Period. Member of the French Artists Society, her pieces were exhibited in the Salon in various editions, as well as in the Independent Salon from 1937 to 1940.The discovery of Tutankamon’s tomb in 1922 by the British Howard Carter was a significant event whose influence was reflected in all imaginable decorative objects surrounding the 20s society. Furniture, jewelry and even costume design were covered with Egyptian forced aesthetics.Although there is no doubt this important discovery revitalized aesthetics, a former interest had already become clear in theater performances, as Sarah Bernhardt’s Cleopatra, or the film of the same title that the then muse Theda Bara performed with outstanding success in 1917.Shows full of exoticism were performed in cabarets and vaudevilles, like dances with fire, knives or snakes, a novelty that was very well received by the audience.Claire Colinet uses this influence to show an exotic dancer covered with conventions, like snakes coiled on her wrists, that remind us of the bracelet Georges Fouquet and Alphons Mucha designed for “Divine Sarah” in 1899, to take us to an idealized world of luxury, splendor and sensuality.