Hublot and Marc Ferrero celebrate the 21st Century Woman

Hublot & Marc Ferrero celebrate the 21st Century Woman

| BY NIKITA VIVEK PAWAR

In turn, wife, mother, friend, lover, businesswoman, femme fatale, fashion icon, or a night owl, for every hour of the day, the modern woman sets herself apart as unpredictable, multifaceted, and unique. Artist Marc Ferrero finds his muse in the multifaceted and headstrong woman of the 21st Century to epitomize his creations in collaboration with Hublot.

It wouldn’t be false to say that the Swiss luxury brand has redefined luxury and its definition with some of the most interesting ventures since its inception in 1980. Deriving its name from the French word for ‘porthole,’ the brand has brought a newer perspective to style, horology, and art. From the concept of fusion to creating a smart system to detect counterfeits, Hublot has always been innovating and reinventing. The Swiss brand was also the first brand that used natural rubber straps for a gold luxury timepiece – a result of three years of research and development and $1 million to find the right method to reduce the chances of cracking or staining of the rubber strap. The first watch created by Carlo Crocco, founder of Hublot, which was showcased at the 1980 Basel Watch Fair, failed to attract a single potential customer at the fair but later on went to be a commercial hit making over $2 million worth of business. Not only did it become an integral part of the sports watches, but it also got a respectable stature in the world of luxury timepieces. This very rubber strap was the founding stone of the ‘Art of Fusion’ literally as well as metamorphically! Combining various contrasting elements became synonymous with Hublot’s ethos.

EXCITING COLLABORATIONS

While there have been many partnerships with brands in the art, automobiles, music, and more, the brand further went to be the first luxury watchmaking company to be soccer and sponsor the Swiss National Soccer team in 2006, a bold move that might have raised eyebrows within the watch world. Still, it proved to be a smart move as the players wore their Hublot Big Bang ASF bringing the Swiss watch brand into the limelight. The brand has had a keen eye for artists and creators that could add a possible vision and parallel thinking to the world of art as well as be integrated into the world of horology and craftsmanship. The collaborated with Carlos Cruz-Diez in 2015 highlighted Cruz-Diez in kinetic art - a disruptive art form that places the spectator’s perception at the center of the piece to question the purpose and status of a work of art. The collection brought an array of colors in constant motion, changing in potentially infinite combinations. Beyond the purely visual effect, the horological color composition changes and evolves with the passing of the hours, minutes, and seconds, mirroring other works by the late artist.

THE BIG BANG COLLECTION

When Jean-Claude Biver joined Hublot in 2004, he wanted to take the brand to reach a new level. Reaching back to Hublot’s roots

and created a watch was represented the true essence of Hublot – the fusion of unusual materials together and emphasize the Art of Fusion. Fifteen years later, the Big Bang still holds the title to be one of the most desirable watches and has been recreated in various versions. Last year, Hublot collaborated with Marc Ferrero, the artist behind Storytelling Art, to create a collection of watches that glorified the spirit of womanhood in the 21st Century, who distinguishes herself through the multiplicity of her roles. With the spinels in shades of red, and topazes for the turquoise version, forty-two fine stones decorated the bezel of the 39-mm case. The dial was where all the magic happened. The artist finds the modern woman to be in black shades and bright lipstick, that she is confident in her skin yet mysterious. With one touch of its “One Click” patented fastening system, the collection was limited to 50 pieces per version. The leather strap for this version was in alligator and rubber, adding a touch of sophistication appropriate for the moment.

THE BIG BANG ONE CLICK MARC FERRERO 2.0

For its second edition of the artistic collaboration with the master of Storytelling Art, Hublot invites ‘Lipstick’ ones again but this time in a monochromatic look. In the form of two 100 limited-edition numbered models, with a lacquered dial and calf and rubber strap and one in satin-finish polished steel and resin, all in white. The other is black ceramic with a lacquered dial and calf and rubber strap, in a combination of black and white. Both the versions have the artist’s representation of the headstrong woman on the dial with dark sunglasses and a flashy red lipstick – the only element that has color. The dials of both the watches are set with two diamonds that elevate the presentation of the watch. These versions of the Big Bang are introduced with the One-Click technology. The straps of the watch carry the artist’s creations, adding a chic yet spontaneous and fun spirit. Like the other members of the Big Bang Collection, these watches also have interchangeable straps in matching alligator skin and rubber.

«I love the power of black and white. Shade and light. Yin and Yang. One is profound, unclassifiable, eternal. The other is subtle, ethereal, timeless. They symbolize antitheses and complementarity. Choosing black and white means getting straight to the point without an excess of tonalities. The black and white make ‘Lipstick’ even more graphic and its red lipstick—more magnetic.” – said Marc Ferrero.

SUBSCRIBE NOW! UPSCALE LIVING MAGAZINE

ANYWHERE & EVERYWHERE

www.upscalelivingmag.com

PAUL DAY Captures "Moments in Time“

| BY TRACY BEARD

Art, in all its forms, has brought beauty and intrigue into the world since the beginning of time. Paul Day, a British sculptor, adds to that beauty with his gorgeous high-relief and free-standing sculptures. He creates stunning, lifelike 3D scenes and sculptures in bronze, terracotta, resin and stainless steel. His high-relief sculptures capture moments in time, tell a story and recreate historical moments. Paul’s talent for bringing solid materials to life is nothing short of phenomenal. His intense and detailed works appear in public forums and private homes all over the world.

I first met Paul while traveling on a canal cruise with European Waterways. Our small group of six engaged in a private tour of his art gallery near Dijon, France. During a recent interview with Paul, I discovered more about his artistic process and the story behind his public and private works. I found that not only is he a gifted artist but also a warm and genuine person.

Paul began his career after attending art school at the Dartington School of Arts and graduating from Cheltenham School of Art. During our interview, I asked him the following questions.

WHAT STEPS DO YOU TAKE TO CREATE EACH PIECE?

I begin by researching the subject. Then I draw sketches on paper and put together models in clay, followed by a discussion with the client evaluating the model. I use the same process when making something for my gallery. After discussions, I make a more elaborate miniature model, gain approval to make the piece and then create a full-size sculpture. This piece goes to the foundry where I act as the project manager. A rubber mold is made from the clay and used to make a wax copy. The wax pieces are cast into bronze, and the sculpture is patinated (chemically colored) and finally installed.

HOW DO YOU GET CLIENTS?

My work consists of commissioned and non-commissioned jobs. Some commissioned projects come from winning a competition where the person or company taking 1 st place receives the commission. Other pieces come about from people that have discovered my work in public places or have heard about me from former clients. Lastly, I sell my art online and directly from my gallery near Dijon, France, when people come to visit. TELL ME ABOUT A FEW OF YOUR COMMISSIONED PUBLIC PIECES.

An Urban Comedy was my first large-scale public piece. A private banker in Brussels commissioned me to create an 82-foot-long terracotta frieze in the Royal Galleries of Saint Hubert in Brussels. I knew absolutely nothing about Brussels, enabling me to go into the project with an open mind. I spent several months researching the city, meeting architects, interviewing historians and talking to everyday people. I read a lot about the country and watched numerous films. I discovered the city as a character.

An Urban Comedy expresses a bird’s-eye view of the city. It is a visual novel with chapters covering the city’s history, physical structures, contemporary culture, and political and daily life. I made over 100 scenes, and it took 18 months to finish.

I subsequently won a competition for the commission of The Battle of Britain monument that sits on the Victoria Embankment in London. The frieze is a visual narrative. I took moments in the island’s history and created something that rose to the occasion. Looking at this frieze is like viewing the stained-glass windows in a cathedral. Each scene is part of a story that reads like a book.

The Meeting Place, located inside St Pancras railway station in London, is a 30-foot-tall bronze sculpture with a high-relief frieze at the base. The designers determined the need for art during the last 12 months of the station’s construction. They wanted something that captured the spirit of romance in railway travel during the 1940s and 1950s and drew on the mood of the David Lean film “Brief Encounter.” The idea was to make something user friendly that was easily accessible to the public, nothing too highbrow or obscure. The sculpture is a large couple embracing. I wanted to add a little bit of bite to the project, so the reliefs at the base deconstruct relationships between couples traveling through the train station. Many people passing through the station spend considerable time talking amongst themselves about what might be happening in each scene. The scenes remain ambiguous and invite the viewer to interpret the narrative through their own eyes, working out whether the relationships are functional or dysfunctional.

and was something new for me. It is a very minimalist sculpture that stands nine feet in diameter. Inspired by a piece of jewelry that evoked something personal for the client, I designed the abstract sculpture using proportions based on the mathematical ideas of the Fibonacci sequence and the golden ratio. These measurements bring balance and beauty to things in nature and art. Sometimes things just feel visually right, and it’s often due to such proportions. Creation is not the type of project I usually undertake, but in this instance I fancied the challenge of something new. Working on it has given me ideas for other abstract pieces, and it is nice to do something different and well outside of my comfort zone.

WHA T OTHER UNUSUAL PIECES HAVE YOU MADE?

A wonderful American couple living in New Zealand traveled on one of the canal cruise ships through Burgundy, France, and visited my gallery. I wasn’t home, but my wife showed them around. A few days later, they called and invited me to meet with them on the ship for a drink. They asked if I had ever considered making sculptures of domestic farm animals. They asked, “Do you do sheep?” “Well, yes, of course I do sheep” was my instant answer, feeling puzzled by the question. Then the husband said, “There are too many sheep in New Zealand already. What about cows?” So cows it was. Having never sculpted animals before this serendipitous meeting, this project led to the creation of a series of monumental cows and chickens that are now installed at the glorious Craggy Range vineyards near Napier on North Island. I never intended to sculpt giant bronze farm animals, but I’ve acquired quite a taste for it!

ARE YOU WORKIN G ON ANYTHING NEW?

My current project is for Rollins College in Winter Park, Orlando, Florida. I have been invited to create a sculpture of one of their most famous alumni, Mr. Fred Rogers. Living in Britain I didn’t grow up watching Mr. Rogers on television; but after completing some research, I discovered a deep admiration for the man and his values. Fred Rogers was an ordained minister and is famous for his show “Mr. Rogers’ Neighborhood.” His philosophy was that love is at the root of everything and that each child is loveable just as they are.

Mr. Rogers was well known for changing his shoes and donning his sweater at the start of each show . Famous characters on his show included Mr. McFeeley, Lady Aberlin and handyman Negri. The land of makebelieve included Trolley and the puppets King Friday, Daniel the tiger, Henrietta the pussycat, and Mr. Owl. Everything Fred Rogers did was to help and educate young children. The bronze sculpture at the college will depict Mr. Rogers with his puppets surrounded by children.

DO YOU FIND ANYTHING ESPECIALLY CHALLENGING ABOUTTHE FRED ROGERS’ PIECE?

Children are notoriously difficult to recreate. Most artists find them a struggle. Children often have a look that is very sophisticated and grown-up. It is hard to portray their complex expressions while retaining a childlike appearance. Children are whole beings in their own right, yet they are perplexing and often difficult to read.

DO YOU HAVE ANY ADVICE FOR ASPIRING ARTISTS?

I have always believed that my natural abilities are modest, but hard work and perseverance go a long way. I am very disciplined, and I work long hours. I don’t wait for the conditions to be “right” or for the inspiration to be there to work. I would say to aspiring artists that you should be in the studio every day and accept the mistakes you make until you get the results you are looking for. Working diligently over the decades could get you there. Nothing happens by magic.

WHAT DO YOU FIND MOST REWARDING ABOUT YOUR WORK?

Each day is truly a new beginning and full of possibilities. Sometimes it is difficult to get a sense of your mission in the world, but art gives me that sense of abundance. If, in some small way, my art touches peoples’ lives for the better and brightens someone’s day, then I can go to sleep a Happy man.

Paul is a fabulous example of a gifted and gracious man that has added beauty to the world through his art and his delightful personality. He has several incredible pieces for sale in his gallery and is available to create one-of-a-kind pieces on commission. Contact Paul at paul@ pauldaysculpture.com.

Revisiting The 1920s A Glimpse at the Chanel Spring/Summer 2020 RTW Costume Jewelry Collection

| BY NIKITA VIVEK PAWAR

The Spring Summer 2020 Ready-towear collection marked as Virginie Viard’s first solo collection as the Artistic Director of the French fashion house. With classic silhouettes and familiar prints, the designer elevated the jewelry to another level.

Chanel is now has a magnifying legacy of two visionaries of all times, Coco Chanel and Karl Lagerfeld. The French fashion house has always redefined the societal norms to free the spirit of womanhood in every shape and form. From introducing trousers for women, Coco Chanel wanted to show a fearless side of women through jewelry as well. The designer always termed jewelry: A piece of jewelry should cause astonishment at most, not envy. It should remain an ornament and amusement. Since then, jewelry became an indispensable part of the Chanel silhouettes and allure.

The first of the costume jewelry pieces were launched in the 1920s. Coco Chanel simplified the traditional settings to glorify the form and shape, giving it a new meaning altogether. She made fluidity a principle and liberty a virtue and established a timeless code for creativity. The designer merged faux pearls with precious metals to create some of the most extraordinary and unique designs. Collaborating with various goldsmiths and costume jewelry makers to bring her dreams to reality, she crafted masterpieces that would complement the silhouettes. Chanel often used symbols and codes that she felt resonated with the persona of a free-spirited and head-strong woman.

Karl Lagerfeld took the essential lessons of the jewelry from Coco Chanel and incorporated the designs in every way possible. The double C’s, lions, camellias, pearls and soon became associated with the brand and the unofficial logos as well. The brand’s iconic double C’s were then spotted at every season in the mainstay in the form of cropped out for earrings or brooches and bracelets. Continuing with the tradition of collaborating with jewelry makers for the jewelry collection, a major part of the collection is still entrusted with Desrues. Further in his tenure, Lagerfeld infused many concepts with the essence of the Chanel brand to create jewelry pieces and accessories that surpassed expectations every time.

The final day of the Paris Fashion Week last year saw a much-awaited show. Karl Lagerfeld’s successor Virginie Viard presented her first time after becoming the Artistic Director of Chanel. Viard is the first woman to lead the fashion house after Gabrielle Chanel herself. The Spring Summer 2020 RTW Collection displays a marvelous conjugation of the eternal Chanel style with Karl Lagerfeld persona. The show at the Rue Cambon did not see elaborate and extravagant sets like Lagerfeld’s and the garments echoed Gabriella Chanel with every model walking in. Playing with the classic colors of monochromes, pinks and reds of tweed dress, play suits, garçonne coat dresses, and little bellshaped skirts, the jewelry that accompanied every dress were characterised by softness yet a loud statement of glamor.

The collection consists of over 54 pieces ranging from bracelets, necklaces, earrings to cuffs, brooches and rings. The collection extensively uses glass and faux pearls, resins, calfskin, denim and precious metals. A major part of the collection still re-imagines the double Cs in metal and strass broach or metals dangling earrings or pearl studded studs or long necklaces. With cluster necklaces and camellia, rings take you back to the 1920s with the double C and stars detailing. The collection also features a versatile collection of earrings from studs to danglers to clip on earring in various styles. Apart from the re-imagined interpretations, the brand also introduces a few funkier brooches like the guitar-shaped, a cassette tape, a belt, a denim and metal double C and a vinyl broach with the word ‘Chanel’ inscribed on it. The collections have some elaborate pieces like metal, glass pearl and strass intricately designed cuff or metal and calfskin earrings in the brand’s iconic letter C.

The Spring Summer 2020 marked to be the beginning of a new era, where the modern woman would grow even stronger and express herself in her true form just like her matching jewelry.