JEWELLERY HISTORIAN #20 by JEWELLERY HISTORIAN

Jewellery Historian

20 1

Jewellery Historian

INSIDE THIS ISSUE

Contributors

Philippe Cramer

BVLGARI

Discover our amazing team that create each issue of the Jewellery Historian.

Olivier Dupon meets Swiss-American designer Philippe Cramer

Bulgari and Elizabeth Taylor: a story of reciprocal love

Editorâ&#x20AC;&#x2122;s Letter

Aida Bergsen

Lucas Samaltanos-Ferrier invites you to discover this new issue.

Olivier Dupon introduces us Convolvulus Sepium

Our news

Harry Winston

From auctions to new collections, all you need to know is in our news.

Discover Sparkling Cluster, the new fine jewellery collection by Harry Winston.

Brilliant Women

Breathtaking beauty of gems

A report from the Latin American Diamond and Jewelry Week at the WJH in Panama City

Eva Kountouraki introduces us to Peridot.

Jewellery Historian Editor-in-Chief Lucas Samaltanos-Ferrier Creative director-at-large Panayiotis Simopoulos Gemology Department Editor Eva Kountouraki Haute Joaillerie Department Editor Olivier Dupon --Founder Lucas Samaltanos-Ferrier --Columnists Eva Kountouraki ( Breathtaking beauty of Gems) Olivier Dupon ( The art of creativity / Haute Joaillerie) --Contributors Martin Huynh , Christina Rodopoulou, Catherine Varoucha --Creative Jewellery Historian Production Jewellery Historian Made in the European Union --Photo agencies Shutterstock, Pixabay, Freepik, The stocks Cover AS Inc / Shutterstock. com --Advertising info@jewelleryhistorian.com Website www.jewelleryhistorian.com E-mail info@jewelleryhistorian.com --FREE DIGITAL COPY / NOT FOR SALE JEWELLERY HISTORIAN © 2016

All material published in this e-magazine and at www.jewelleryhistorian.com is published with permission of the brands and designers. Unless otherwise authorized in writing by the Jewellery Historian, it is strictly prohibited to reproduce, in whole or in part, and by any way, the content of this e-magazine. While precautions have been take to ensure the accuracy of the contents of our magazine and digital brands, neither the editors, publishers or its agents can accept responsibility for damages or injury which may arise there from. The information on this e-magazine is for information purposes only. Jewellery Historian assumes no liability or responsibility for any inaccurate, delayed or incomplete information. The information contained has been provided by individual brands, event organizers, brands, press offices or organizations without verification by us. The opinions expressed in articles and/or advertorials, are the author's and/or brand’s own and do not necessarily reflect the views of the Jewellery Historian, the owner, the publisher, the editor-in-chief and team of the magazine, or of any part related to the magazine. The name “Jewellery Historian” and/or logo, may not be reproduced without prior written consent of the founder of magazine. Partial or entire reproduction of the material of this magazine is strictly prohibited.The content, entire edition, graphics, design, lay-out and other matters related to this issue are protected under applicable copyrights and other proprietary laws, including but not limited to intellectual property laws. The copying, reproduction, use, modification or publication by you of any such matters or any part of the material is strictly prohibited, without our express prior written permission.All trade names, trademarks or distinctive signs of any kind contained in the Web pages of the company

are the property of their owners and are protected by law. The same is valid also for all Links (links) .The presence of third-part links (links) in the Jewellery Historian Web pages & e-magazine is for informational purposes only. Our articles may contain photos/texts/graphics/designs that belong to third parties. They are published for information purposes only and with permission of the brands. Image(s) or Footage (as applicable), used under license from photo agencies. The Jewellery Historian is publishing articles about jewellery, auctions, jewellery designers, gemology, gemstones, etc. All trademarks mentioned in the Jewellery Historian’s website and/or magazine belong to their owners, third party brands, product names, trade names, corporate names and company names mentioned may be trademarks of their respective owners or registered trademarks of other companies and are used for purposes of explanation & information and to the owner's benefit, without implying a violation of copyright law. Photos used in articles belong to their owners, third party brands, product names, trade names, corporate names and company names mentioned may be trademarks of their respective owners or registered trademarks of other companies and are used for purposes of explanation and to the owner's benefit, without implying a violation of copyright law.

Jewellery Historian

INSIDE THIS ISSUE

105 Otto Jakob A German jewellery maestro, Jakob is the archetypical Renaissance artist.

199

197

Fashion

EsthĂ¨te Our editor-in-chief chooses one piece of jewellery as his favorite.

With two fashion editorials we celebrate summer and the Olympic Games.

137

225

Japanese Jewelers Directory

Jewels We Love

Olivier Dupon meets editor Ikuko Watanabe for an exclusive interview.

We handpick the finest jewellery for you to choose.

149

257

Volund

Mille Feuilles

The creation of timeless treasure.

Our favorite french books for this issue...in french.

171

261

Exceptional timepieces

Inspirations : Special

Discover the amazing Bulgari Otto collection.

Catherine Varoucha presents us an amazing beach house.

DE BEERS CHAUMET LOUIS VUITTON DIOR PIAGET CHANEL VAN CLEEF & ARPELS BVLGARI CARTIER BUCCELLATI ALEXANDRE REZA MESSIKA DE GRISOGONO

Â© Cartier 2016 - Photo: Ben Hassett - Model: Toni Garrn.

SUZANNE SYZ GIAMPIERO BODINO SYLVIE CORBELIN

The Jewellery Historian presents

H AU T E J OAI L L E R I E a unique special edition in two volumes available with this issue

www.jewelleryhistorian.com

INSIDE THIS ISSUE

CONTRIBUTORS

As long as he could remember, Olivier Dupon has always been passionate about how ideas can translate into designs, and as a result, he is fascinated by the umpteen creative approaches taken by many independent practitioners. He is now an expert in the fields of lifestyle and fashion, reveling in exposing these talents to a wider audience. While he began his career at Christian Dior, and then worked as a buyer and project manager for several large retail companies before running his own lifestyle boutique for several years, now based in London, he scouts international markets in search of exciting names in Art & Craft, with a focus on jewellery makers and splendid precious designs. His previous books include The New Artisans (2011), The New Jewelers (2012), The New Pâtissiers (2013), Floral Contemporary (2014), Encore! The New Artisans (2015), and Shoe: Contemporary Footwear by Inspiring Designers (2015) all published by Thames & Hudson. His new book on luxury jewellery will be published in Autumn 2016. For the Jewellery Historian, in his The Art of Creativity column, Olivier Dupon exposes inspiring, intriguing at time, and captivating stories through the presentation of talents or the exposé of current topics, all centered around creativity in today’s high-end fine jewelry.

Eva Kountouraki was born and raised in a family of goldsmiths and jewelers. From a very young age she expressed her keen interest in gems, jewelry and design, a passion that led her to devote her studies and her career in this field. She started her first collection of polished and rough gemstones at a very early age and realized that this would be her profession in the future. After studying gemology books in various languages, she attended gemological seminars in Greece and Europe and developed practical skills to analyze gems, Eva decided to accredit those skills choosing the best gemological institute in the world, GIA (Gemological Institute of America), for her studies. Succeeding unprecedented results in the practice and theory of gemology, analyzing and identifying thousands of gemstones and diamonds, she graduated and acquired the prestigious certificate GIA Graduate Gemologist Diploma, which includes specific studies in diamond grading (GIA Graduate Diamonds Diploma) and colored gemstones (GIA Graduate Colored Stones Diploma). Her studies in the jewelry field continued and Eva got her Jewelry Business Management Diploma, gaining specialized knowledge about all the aspects of the jewelry industry. Her training continued with jewelry design and computer aided design. Eva’s brilliant path in the field of gemology was crowned by her collaboration with the Italian branch of GIA. Eva received special training from professional and experienced gemologists of GIA Italy, New York and California, US, and for more than a decade she teaches gemology and jewelry design in GIA, transferring her experience, knowledge and passion for diamonds, gems and jewelry to her students-famous professionals from around world. Eve is proud to be the only Greek woman who has ever accomplished such a distinction in the field of diamonds and precious stones. Alongside her work as a gemology instructor, Eva is a jewelry and gemstone buyer and consultant for privates and companies, advising and helping her clients to make successful buys and investments in gemstones. She also organizes and teaches seminars for the training of gemstone and jewelry merchants, salespeople and gem-passionates. For the Jewellery Historian, in her The breathtaking beauty of gems column, she introduces you to a breathtaking gemstone in every issue.

INSIDE THIS ISSUE

CONTRIBUTORS

Panayiotis Simopoulos is the creative director-atlarge of the Jewellery Historian. In his role, he contributes to special projects and serves as roving ambassador with links to all creative areas of the magazine. With a successful world career as a fashion top model and as a talented fashion photographer, he is the rarest kind of creative artist, one who creates extraordinary images. With a unique creative vision, whilst maintaining a clear vision of delivering a message that speaks directly to the reader, he ultimately creates an exciting and balanced visual experience. For the Jewellery Historian, Panayiotis creates the exceptional visual of each issue. Together with many of the most talented young photographers, he definitely delivers, the most memorable, exciting and unique images and fashion editorials that the magazine has ever published. In close collaboration with the founder & editor-in-chief of the magazine and with the creative team, he is responsible for the uniquely powerful visual and textual storytelling, which combined to a minimal and clean design offers to readers from around the globe a unique reading experience.

Catherine Varoucha joined recently the Jewellery Historian. Art has always been her true passion, and every forms of art has captivated her since early childhood. With a desire to explore how science and technology can be used to change skylines that form our cities and to improve the performance of buildings both socially and environmentally, she studied architecture which allowed her to engage both creatively and scientifically with the aesthetic and functional aspects of design. Christopher Wren once said, 'Architecture aims at eternity' and Catherine can think of no better way to achieve eternity than to help create buildings of tomorrow that preserve the ideas of today. Ultimately, we are judged by what we leave behind. Inspired by minimal architecture of the Cyclades in Greece and in particular of Naxos, Catherine works in close collaboration with the editor-in-chief and with the creative director-at-large, to create the uniquely powerful visual and textual storytelling, which combined to a minimal and clean design offers to our precious readers from around the globe a unique reading experience. Periodically she will also introduce us exceptional interiors around the globe.

Jacob Lund / SHUTTERSTOCK . COM

Jewellery Historian

| EDITORâ&#x20AC;&#x2122;S LETTER

EDITORâ&#x20AC;&#x2122;S LETTER Diversity can be defined as people coming together from different races, nationalities, religions and sexes to form a group, organization or community. A diverse organization, society, world is one that values the difference in people. It is one that recognizes that people with different backgrounds, skills, attitudes and experiences bring fresh ideas and perceptions Diversity gives so much to our societies. People of different ethnic, religious and cultural backgrounds work together to build communities, deliver services and improve each otherâ&#x20AC;&#x2122;s lives. It seems clear that diversity is an integral part of who we are. And yet, many people view diversity as a threat. Populist parties have grown in power and prominence in many countries around the globe in the last few years. Fueled by the multiple crises that all countries have to face, political rhetoric and public discourse on subjects such as migration and the treatment of minorities has reached ugly depths that have not been seen since the tragedy of World War II. It is now more important than ever to take action to stand up for diversity and defend the common values of respect for human rights, human dignity, pluralism, non-discrimination, tolerance, justice, solidarity and equality between all. Contemporary authoritarian populism is nothing new, but recent events in many countries clearly shows the importance of the emerging split between the beneficiaries of multicultural globalism and those who feel left behind. During June, millions of people celebrate worldwide the Lesbian, Gay, Bisexual and Transgender Pride Month (LGBT Pride Month) to honor the 1969 Stonewall riots in Manhattan. The Stonewall riots were an important point not only for the Gay Liberation Movement in the United States but also affected many countries and societies around the world. As we reflect progress in many countries, we do not lose sight of the tragic events in Orlando that reflected an extreme form of the hate to which LGBT individuals are too often subjected. I have an underlying belief in inclusion and diversity, whichÂ are fundamental to our culture and core values. I believe that no one should be discriminated against because of their differences, such as age, disability, ethnicity, gender, gender identity, sexual identity and expression, religion or sexual orientation. We must make sure that hope overcomes fear by sending a powerful message and reminding to our planet that there is strength in our diversity. I would like to dedicate this issue, to all the victims of the Orlando attack, to all victims worldwide of any kind of violence, to all victims of terrorism and to express my solidarity to all LGBT communities worldwide. Finally, I would like to dedicate this issue to diversity, which is a force for tolerance, for creativity, democracy and peace.

Lucas Samaltanos-Ferrier Founder & Editor-in-Chief

P.S. This text was written few days before the terrorist attack in Nice, France.

SolidaritĂŠ We express our deepest condolences to the families of the victims, the authorities and the people of France. We stand by France and the French people.

Nice, July 14, 2016

www.facebook.com/jewelryhistorian

www.instagram.com/jewellery_historian

Peter Kotoff / SHUTTERSTOCK . COM

Jewellery Historian

NEWS

M AG E R I T Black Essence

Magerit’s design team launches a new project that breaks every mold previously known. Black Essence is born to be a new line daring and transgressive where Magerit will collect their most innovative and provocative designs. Pieces with strong personality which combine art, creative talent and passion. The first proposals emerge from the unique fusion between classic art and the avant garde, an exclusive collection of jewels, filled with historic content and centred on the skull, an element that has become a fashion trend over recent years. The universally recognized biblical scene of Adam and Eve in the Garden of Eden is the central theme of the “Paraíso” pendant, in which the story of temptation is represented in detail. The perfectly sculpted male and female bodies reveal the influences of classic art, but reinterpreted in a contemporary way. The serpent and the ever-present apple appear as symbols that evoke the temptation scene. On the other hand, the “Bacanal” pendant recreates a scene from Greek mythology featuring nymphs and satyrs. The harsh appearance of the satyrs, forest creatures with animal-like features, lovers of wine and the earthly pleasures, contrasts with the serene beauty of the nymphs emerging from the clear waters of rivers and springs. “Tentación” is an ode to the most transgressive women's fashion. Openworks, baroque ornaments and a snake as its central motif make it a unique and different proposal. The collection is completed with two unisex models created from animal skulls: Pendant "Sabana" used the skull of a lion as a base. In the front a realistic hunting scene is represented. “Amazonas” pendant reproduces the skull of a crocodile adorned with black diamonds. About Magerit Magerit is a Spanish company established in 1994 by a team of professional experts in creations and design of fine jewellery. Magerit’s jewellery blends its designers’ creativity and originality with the sophisticated, handcrafted finishes of each individual piece. Its exclusive designs never go unnoticed and set their wearer apart. The company is currently based in the city of Madrid and has one hundred retail locations in twenty countries. For further information : www.mageritjoyas.com

Photo courtesy of MAGERIT Â© MAGERIT

Jewellery Historian

| NEWS

Photo courtesy of MAGERIT Â© MAGERIT

Jewellery Historian

| NEWS

Photo courtesy of MAGERIT Â© MAGERIT

Jewellery Historian

| NEWS

GUCCI GG2570 collection

Gucci is pleased to introduce the GG2570 collection comprised of a selection of watches for men and women, named in homage to Gucci Creative Director Alessandro Michele’s lucky number, “25” and Gucci’s hallmark decade, the 1970s. The GG2570 watch introduces a new shape of case for Gucci Timepieces & Jewelry that has a squared-off, slightly rounded design. This typically 1970’s geometric form is a perfect canvas for alternate variants around the GG2570 theme; some have a depth of texture achieved through brushed and polished bezels, which gives the watch a sportive allure; other styles have a polished stainless steel bezel, for a more classic look. The sun-brushed dials feature the “G” monogram shadow in a three dimensional interpretation which gives iconic identity where indexes are presented in a variety of styles. Men can choose between two watch sizes – from the extra-large 44mm to the standard 41mm – and a variety of looks; from the stainless steel bracelet, the natostyle nylon strap bearing the green-red-green or blue-red-blue stripe, to the classic black leather strap. For women, choices include 37mm and 29mm models together with precious variants enhanced with diamonds and crocodile leather straps. All pieces are Swiss Made with a stainless steel or gold-plated case. About Gucci Timepieces & Jewelry Gucci Timepieces, one of the most reliable and consistent fashion watch brands, with a clear design approach and positioning, has been designing, developing and m a n u f a c t u r i n g i c o n i c G u c c i w a t c h e s s i n c e t h e e a r l y 1 9 7 0 s .  Rigorously made in Switzerland, Gucci watches are recognized for their innovative and contemporary design, quality and craftsmanship and are distributed worldwide through the exclusive network of directly operated Gucci boutiques and selected watch distributors. Since January 2010, Gucci Timepieces has also been distributing the Gucci Jewelry collections, capitalizing on the expertise gained in the watch sector and leveraging the synergies between the watch and jewelry industries. For more information about Gucci Timepieces & Jewelry, please visit www.gucci.com. Gucci is part of the Kering Group, a world leader in apparel and accessories, which develops an ensemble of powerful Luxury and Sport and Lifestyle brands.

Photo courtesy of GUCCI Â© GUCCI

Jewellery Historian

| NEWS

EC ONE Award-winning London jewellers unveil debut bridal collection

AWARD-WINNING jewellery boutique EC One announces the launch of a new bridal collection designed and handmade in the brand’s Clerkenwell workshop. Dainty Dozen is a collection of 12 engagement rings and accompanying necklaces and earrings designed by EC One co-founders Jos and Alison Skeates, in collaboration with Kate Baxter of The Cut. Imbued with a traditional vintage-style aesthetic, with all the lustre and weight of modern-day jewellery, the collection has been crafted by the brand’s in-house team of Goldsmiths, marking a new start to EC One’s own range designs. The signature feature of the Dainty Dozen is its halo of graduating diamonds, micro-set in 18ct white gold with fluted under-bezels. There is beautiful variety in the collection’s centre stones which include a certified diamond or an exceptional coloured stone; emerald, brown diamond, pink sapphire or blue sapphire. Dainty Dozen will be available to order online at www.econe.co.uk from April, as well as in-store at the Exmouth Market-based boutique. Established in 1997 by husband and wife team Jos and Alison Skeates, EC One set out with a vision to source fashion-led jewellery pieces from around the world, as well as uncovering new design talent through their annual Unsigned competition. 19 years on, the brand has established itself as a leader in the jewellery and retail industry. The brand’s unique quality lies in the on-site workshop at the Clerkenwell store, where the team of goldsmiths handcraft bespoke pieces, carry out repairs and re-model customers’ jewellery to suit their wishes. For more information, please visit www.econe.co.uk.

Photo courtesy of EC ONE Â© EC ONE

Jewellery Historian

| NEWS

Photo courtesy of EC ONE Â© EC ONE

Jewellery Historian

| NEWS

Photo courtesy of EC ONE Â© EC ONE

Jewellery Historian

| NEWS

J E W E L L E RY H I S TO R I A N An exceptional special issue available with this issue

Each year in July, coinciding with Haute Couture week, high-end jewellery houses unveil their haute joaillerie collections in Paris. It goes without saying that this is an important week in the calendar of the super rich, where collectors can renew their wardrobes and invest in the exclusive jewels that go with it. It is also generally a time when one can hear a lot of “wows!” and “ohs!” as the collections tantalise while their mise-en-scène mesmerises. This year does not disappoint offering an exciting array of creative approaches. Some collections celebrate naturalistic designs, notably in the recurrence of one symbol in particular, the wheat motif, in the collections of three Houses. There was as ever the focus on rare and exceptional gemstones (Louis Vuitton had a few surprises in store) and of course superlative craftsmanship with some eye-catching results. That said, each brand provided very distinct visions: Chanel, De Beers and Van Cleef & Arpels have all managed to successfully create excitement with a mono-theme (respectively, all about wheat, London landmarks viewed through white diamonds, and a symphony of emeralds) while other brands opted for a traditional umbrella concept which they then interpreted with varied subcollections. It is interesting to note that the likes of Bulgari and Boucheron delved into their own histories – a form of re-assurance in times of uncertainty – to revive some of their iconic symbols. Others, like Piaget and Alexandre Reza, experimented with a more modern vision of Haute Joaillerie, while Dior perfectly combined past, present and future in their homage to Versailles. Overall the 2016 edition was as always spectacular and it is my pleasure to describe the exceptional offering of the following seventeen haute or high jewellers in more detail and not in alphabetical order: De Beers, Chaumet, Louis Vuitton, Chanel, Dior, Piaget, Van Cleef & Arpels, Boucheron, Bulgari, Cartier, Buccellati, Alexandre Reza, Messika, de Grisogono, Sylvie Corbelin, Giampiero Bodino and Suzanne Syz. Special thanks to BOUCHERON for the cover of Volume 1 and to CARTIER for the cover of Volume 2. Discover the two volumes of the Haute Joaillerie Special Edition 2016 at: www.jewelleryhistorian.com

DE BEERS CHAUMET LOUIS VUITTON DIOR PIAGET CHANEL VAN CLEEF & ARPELS BVLGARI CARTIER BUCCELLATI ALEXANDRE REZA MESSIKA DE GRISOGONO SUZANNE SYZ GIAMPIERO BODINO SYLVIE CORBELIN

PA S Q UA L E B R U N I MakeLove collection

The new MakeLove collection Pasquale Bruni is a hymn to love and joy. Pieces of jewellery that represent woman with symbols of union and the cosmos, in sinuous shapes that evoke infinity, and man like a line, a ray of sun. The femininity of Venus blossoms in the white gold flower that represents the earth; it shines in the yellow gold star that embodies the air and, lastly, vibrates in the rose gold heart, like the flame of True Passion. Jewellery that fastens in a circle thanks to a T-bar, a perfect balance between man and woman and their archetypal symbols. Conceived for a contemporary woman who loves to love herself, MakeLove proposes an Escapulario chain which can be worn as a choker, as a long chain or double loop chain and as a ring. The earring is also characterized by a double use: the symbol can become a precious pendant and be worn in the pavĂŠ version or show the opposite side in reflecting gold. For further information visit www.pasqualebruni.com

Photo courtesy of PASQUALE BRUNI Â© PASQUALE BRUNI

Jewellery Historian

| NEWS

Photo courtesy of PASQUALE BRUNI Â© PASQUALE BRUNI

Jewellery Historian

| NEWS

Photo courtesy of PASQUALE BRUNI Â© PASQUALE BRUNI

Jewellery Historian

| NEWS

U LYS S E N A R D I N L A DY D I V E R A New Wave in Design and Performance

For more than a decade, the Ulysse Nardin Lady Diver Collection has introduced stunning timepieces that are both fine jewelry watches and reliable diving instruments. A favorite among women who demand exquisite style and superb performance, the Lady Diver is a must-have. Ulysse Nardin is pleased to welcome a new wave of watches to this iconic collection. In keeping with the evolved aesthetic of the Diver collection, the latest additions embody the true Ulysse Nardin DNA: the spirit of innovation, quest for independence and commitment to exacting execution and unparalleled design. In this collection, glamorous touches meet sophisticated capabilities. On various watch faces, the delicate aesthetic of mother-of-pearl can be found, contrasted only by the deepest shade of black on others. A wealth of diamonds diffuses endless sparkle on every piece. Eighteen-karat gold delivers classic elegance, as stainless steel expresses modern sportiness. Rubber straps fuse beauty and strength. In one model, a precious metal insert is decorated with an array of shimmering diamonds and is complemented by the signature Ulysse Nardin anchor. In another, a stainless steel insert is adorned only with the Ulysse Nardin anchor for timeless appeal. With this collection, there are a plethora of options from which to choose. The hard part will be deciding. Powered by the in-house UN-320 movement, the Lady Diver features the revolutionary silicium technology via its silicium hairspring and anchor escapement, providing supreme accuracy, as well as simple forwards and back- wards setting of the date located at 6 o’clock. In this same location, one can also make note of the small seconds. The dial, with its large luminous hands and hour markers at 12, 3 and 9 o’clock, improve readability. Below the surface, the piece is water-resistant to 300 meters. Its screwlocked crown helps prevent water from penetrating the watch, while its unidirectional turning bezel with rubberized inlay allows for necessary adjustments with one easy motion – a critical function for divers. A diving watch, beachside accessory or both, the Lady Diver is a breathtaking performance timepiece for activities on land or sea. Representing a wonderful evolution of the Diver collection, Lady Diver proves that being active doesn’t mean sacrificing luxury.

Photo courtesy of ULYSSE NARDIN Â© ULYSSE NARDIN

Jewellery Historian

| NEWS

| BUSINESS

Photo courtesy of WJH © WJH

Jewellery Historian

BUSINESS

Brilliant Women The empowerment of women in Latin America’s jewelry, diamond and gemstone sectors came under the spotlight at a special seminar, organized as part of the Second Latin American Diamond and Jewelry Week at the World Jewelry Hub in Panama City on June 23.

Jewellery Historian

Some 50 women from multiple countries joined in the round-table discussion. They hailed from Bolivia, Brazil, Colombia, Costa Rica, Ecuador, Peru, Venezuela, Turkey, Romania, Italy and Panama. All are owners of important brands in their home nations.

| BUSINESS

A new and powerful initiative was born during the second Latin America Diamond Week, held in the World Jewelry and Diamond Hub (WJH), in Panama City, Rep. of Panama, on June 23d. A large group of women, mostly from Latin America, but also from other parts of the world like Italy, Israel, Greece and Turkey, among others, united their voices and shared their experiences during the “Primer Encuentro de Mujeres de la Industria Joyera”. The purpose of this meeting, first of a series of events that will follow, was to underline the role of the women in the international jewelry industry, and through their struggle and success inspire and empower other women to unveil their talent, expertise and passion and follow their dream to become active members of the gem and jewelry business. All the ladies that participated in this important event are successful professionals of the jewelry industry in its complete spectrum, including jewelry retail and wholesale, marketing, gemology, design, manufacturing and of course our gem expert and columnist Eva Kountouraki who also heads the gem and jewelry education department of the WJH. They call themselves “mujeres brillantes – Brilliant Women” and have launched their marketing slogan “My jewels, my story” which they promise we will be seeing and hearing a lot from now on! Ladies your success is certain, and we, the JH team, are happy to offer our support to the brilliant people of the world and wish you the best of luck with all your initiatives. The empowerment of women in Latin America’s jewelry, diamond and gemstone sectors came under the spotlight at a special seminar, organized as part of the Second Latin American Diamond and Jewelry Week at the World Jewelry Hub in Panama City on June 23. Some 50 women from multiple countries joined in the round-table discussion. They hailed from Bolivia, Brazil, Colombia, Costa Rica, Ecuador, Peru, Venezuela, Turkey, Romania, Italy and Panama. All are owners of important brands in their home nations. The seminar was moderated by two WJH executives: Ali Pastorini, Senior Vice President of both the World Jewelry Hub and its resident diamond and gemstone exchange, the World Jewelry & Diamond Hub, Panama; and Judy Meana, Vice President of the bourse. “We work in a business where the primary end-consumers are women,” said Ms. Pastorini in her presentation to the seminar. “Does it not make sense that we should have more women in key positions? Would that not make the business stronger?” “I am proud to say that at the World Jewelry Hub, the story is different. Of the three vice presidents in our senior management team, two of us are women,” she continued. “We also have a group of talented and competent women on our staff, just as we have talented and competent men.” The meeting covered a wide range of topics, all converging on the theme of elevating the role and influence of women in the various sectors that comprise the jewelry and gemstone industry in Latin America. It was agreed that,

Jewellery Historian

Ladies your success is certain, and we, the JH team, are happy to offer our support to the brilliant people of the world and wish you the best of luck with all your initiatives.

| BUSINESS

for the benefit of future generation, multinational cooperation was essential, and that more meeting of this sort should be held in the future, to monitor progress, to plan strategy and discuss specific programs. On a more general note, the women discussed ensuring integrity and transparency in the business. “There is tendency on the part of people outside of Latin America, and even in the region, to see ourselves as behind the developed world. But today we are seated in the world’s youngest diamond, gemstone and jewelry exchange, which also happens to be first and only one of its type in Latin America,” said Ms. Pastorini. She referred to a recent study conducted by Mercer, one of the world’s leading human resource consultants, which reviewed gender equality in the workplace. “Right now, according to the study, only 17 percent of Latin America executives are women, which isn’t a statistic for us to be proud of,” Ms. Pastorini said. “But this is the only region in the world that, according to the study, is likely to approach gender equality at the professional level and above by 2025. If trends continue as are right now, 44 percent of all business executives in Latin America are likely to be women nine years from now.”

Located in the Santa Maria Business District of Panama City, the World Jewelry Hub (WJH) is a center that serves the specialized needs of the diamond, colored gemstone and jewelry sectors, and is designed to serve the primary trading center in Latin America and the access point to the region for industry professionals from around the world. Home to the World Diamond & Jewelry Hub, Panama, the region's only recognized diamond bourse, WJH has been authorized as a Gemstone and Jewelry Free Zone by the Government of Panama, where transactions conducted within it are exempt from duties and other taxes. The first phase of the WJH complex was completed at the end of 2014. The first phase of the WJH complex was completed at the end of 2014. The second phase, which includes the construction of multi-story office tower, will commence shortly. For more information see www.pde.com.pa.

| BUSINESS

Photo courtesy of WJH © WJH

Jewellery Historian

Photo courtesy of WJH © WJH

Our gem expert and columnist Eva Kountouraki, who also heads the gem and jewelry education department of the World Jewelry Hub-WJH.

Photo courtesy of WJH © WJH

The special seminar investigating women’s empowerment in the Latin American jewelry and gemstone industry in session at the World Jewelry Hub.

Jewellery Historian

| THE ART OF CREATIVITY

T H E A R T O F C R E AT I V I T Y by Olivier Dupon

Philippe Cramer Of Swiss and American nationality, designer Philippe Cramer aspires not only to conceive the most efficient products but also to create an emotional and intellectual triangle between an object, its creator and its user. His creations are essentially about building bridges. 37

Photo courtesy of CARNET © CARNET

Photo courtesy of Philippe Cramer © Philippe Cramer

Jewellery Historian

| THE ART OF CREATIVITY

Carats by Swiss designer Philippe Cramer is a furniture series, which elevates the concept, so much so that Carats squarely belongs in the functional objet d’art category. And there is no one better placed than Philippe for such a task: both a fine jewellery and furniture designer, it was just a matter of time for him to marry the two.

When one looks for a piece of bejewelled furniture, only rarely is it sleek in design, let alone stylish. Usually such pieces bear kaleidoscopic colours in the ‘more the better’ school of design with glued on stones. By contrast, Carats by Swiss designer Philippe Cramer is a furniture series, which elevates the concept, so much so that Carats squarely belongs in the functional objet d’art category. And there is no one better placed than Philippe for such a task: both a fine jewellery and furniture designer, it was just a matter of time for him to marry the two.   " Noble wood and rare optically clear crystals are the only two ingredients. At first sight, the pairing could appear conflicting, however it is a far cry from a forced marriage. What initially appears incompatible in fact conjoins beautifully in a harmonious embrace. The organic veiny surface of walnut or bleached oak wood is peppered with a constellation of white crystals in varied sizes, so that the outcome is deceptively minimalist. The fusion is even greater than expected thanks to the smooth uninterrupted surface. The crystals are indeed flat and on the same level as the wood’s plane. Far from having the scrying depth of clairvoyants’ balls, the crystals used in Carats are optically clear and radiant. That is not to say that the furniture pieces are ‘bling’, and this is testament to Philippe’s flair that he has been able to harness the preciousness attached to crystal into scintillating elegance. The juxtaposition of opaque and rather masculine surfaces with the more feminine transparency of the round studs works wonders, yet what truly facilitates the balance are the gentle curves of the furniture pieces themselves. Sharp edges would have rendered the ensemble incomplete. The distribution of the crystals is also impeccable since it looks random yet even in the way that stars organically punctuate a night sky with no empty patches or clusters of bigger dots versus smaller ones). This makes for peaceful contemplation while at home. I have asked Philippe Cramer a few questions following his introductory statement: ‘throughout history, crystals have played various roles in the myths, legends and everyday life of human cultures. These revered stones were used for medicine, makeup, burial items and talismans. It is said that Cleopatra had a first look at her lovers through the prism of a crystal to gauge their vigor. Crystals embody the idea of wealth, power and magic; they have been used to foresee the future, transmit cosmic energy and confer status and significance to objects of special meaning. The visual effects of crystals are rarely equalled. Crystals refract light, sometimes in an array of rainbow colours, they can multiply an image through their many facets and at their clearest seem to emulate the purest of water’. Olivier Dupon – When and why did you decide to expand on the one-off piece y o u d e s i g n e d i n 2 0 0 7 f o r D o m P e r i g n o n ( a p r e c u r s o r o f C a r a t s ) ?  Philippe Cramer – Faceted clear stones have always been part of my creative world. The power they possess to refract light and to absorb us into a dimension of their own is unequalled in the material world. Crystals, in particular, have the ability to mesmerize. For centuries crystals have been used in many different ways, for example to predict the future or as a healing agent. Throughout my work, I have always been interested in exploring contrasts: by marrying clear and luminous crystals with earthy and organic woods, I create a striking visual language that has become one of my artistic signatures.

Photo courtesy of Philippe Cramer Â© Philippe Cramer

Jewellery Historian

| THE ART OF CREATIVITY

Entrance console Carats whitened oak

| THE ART OF CREATIVITY

Photo courtesy of Philippe Cramer Â© Philippe Cramer

Jewellery Historian

Sideboard Carats walnut and aluminum

| THE ART OF CREATIVITY

Photo courtesy of Philippe Cramer ÂŠ Philippe Cramer

Jewellery Historian

Aura pendant necklace Profile of a loved one surrounded by aura emanations, 18kt gold and diamonds.

Photo courtesy of Philippe Cramer Â© Philippe Cramer

Jewellery Historian

| THE ART OF CREATIVITY

Jewellery Historian

| THE ART OF CREATIVITY

Wall bench Carats whitened oak

I am developing this further with a series of pieces made from Thassos marble, a very special white marble from the island of Naxos in Greece, set with white diamonds.

When Dom Perignon gave me carte blanche to design an object, it was the perfect opportunity to explore this creative direction and the result was promising. For some time, I have been developing pieces of furniture with a high sculptural quality, pieces that can be considered works of art as much as they are utilitarian objects. I am developing this further with a series of pieces made from Thassos marble, a very special white marble from the island of Naxos in Greece, set with white diamonds. The idea that precious or semi-precious stones can adorn pieces for the home in contemporary design has not been exploited yet. It seems to me to be a poetic way to pay homage to ancient aristocratic practices that are worthy of being reinvented. OD – In Carats, how did you plan the positioning of the crystals?   PC - I was interested in the ancient Ptolemaic constellations, which are more complex and difficult to decipher than our known Zodiac constellations. In the Ancient World, constellations were attributed with symbolic meanings and greatly affected the everyday lives of many civilisations. The Maya, the Greeks, the Egyptians, the Chinese and the Zoroastrians all had use for these groups of stars forming particular designs. For example, constellations were used to determine how and when certain marriage or sacrificial rituals were to be executed but also helped to navigate on land and on water and to determine when to sow and harvest crops.   While working on the project, I decided that we should be able to create our own constellations reflecting the world we live in today, defined by its own characteristics and demands. I therefore created my own constellations embodying the quest for love, success, serenity and enlightenment.   But to be honest, I would prefer these new works not to be considered as cerebral or filled with too much meaning. They should be enjoyed as sculptural pieces of furniture with a poetic stance and as perfectly crafted works of art. OD – How are the crystals embedded in the wood surface? Are they set like gemstones?   PC - The crystals I chose to work with for this furniture collection had to have a flat top. This is because it was important in my vision that they be precisely flush with the wood surface they were embedded into. As a result, you can caress the even surface of the piece and feel no difference in height between the two materials. It is important to me that the visual and sensory experience of interacting with these objects give the impression that the crystals grew into the wood and are part of its structure; that the piece is made of a natural, albeit perhaps slightly magical, element found in some remote part of the world.   To create this effect, we had to create bespoke tools to embed the jewels into the wood. But I will not reveal too many technical details as I want to keep the sense of mystery about the process. OD – What have been the challenges along the way?   PC - The main challenge has been to find the right crystals. They had to be luminous and refract light while being set into an opaque material. A particular technique allowed us to achieve the result we were hoping for. Here again I will not go into details, but as

| THE ART OF CREATIVITY

Photo courtesy of Philippe Cramer Â© Philippe Cramer

Jewellery Historian

Sculpted Flower ring Hand carved amethyst in the shape of a flower, 18kt gold and diamonds.

Jewellery Historian

| THE ART OF CREATIVITY

Photo courtesy of Philippe Cramer Â© Philippe Cramer

Jewellery Historian

| THE ART OF CREATIVITY

My personal instinct is to always envision a proposal that steers away from the purely functional to answer to our need for the ethereal.

any designer will probably confess, experimenting is a large part of our work. It certainly is a challenging exercise to find the perfect solution, but it is also one of the most exciting. And of course it is rewarding if and when you find your Grail.  Then of course, finding craftsmen willing and able to accompany you in a creative adventure that no one is sure will work is the other part of the challenge.  And all the while you question yourself and your artistic instinct, internally challenging your every decision, whether it’s about proportions, details or finishes.  In this case, the end result seemed obvious and I easily forgot how I got there with a good bottle of champagne. OD – Your jewellery is often wearable Art, while Carats is a form of functional Art: does this make you a product designer cum artist?   PC - I believe I am part of a generation that chooses not to define itself in such terms. I create. I was trained as a furniture/industrial designer but soon felt constricted by labels. Whether I design jewellery, furniture, silverware or glassware or whether I create a wall painting or a sculpture, the process is the same. I realise this way of envisioning creation is relatively new to some, but one should not forget that masters like Leonardo da Vinci were as much artist as product designer or that Picasso also designed jewellery. Or that Le Corbusier was a painter as well as an architect or a furniture designer. These examples are not new yet still we feel the need to categorise. That said, I feel my body of work is as much an artistic expression as a means to enhance our world with more pragmatic solutions such as functional furniture and home accessories. I love to think about a sofa with all the attributes relating to comfort, ergonomics, and production possibilities that result from it, but I will always have a profound need to give this product, even a sofa, a poetic and emotional dimension. My personal instinct is to always envision a proposal that steers away from the purely functional to answer to our need for the ethereal. OD – Is duality a core concept running through “Demos Oneiroi”? Or is it specific to Carats (Wood/Crystal / Opaque/Clear Feminine/Masculine etc.)?   PC - Throughout my life work, duality has been a constant. Opposites attract as the saying goes. But more than that, they engender life, or should I say a life-like energy. Total looks do not work for me. I have always enjoyed seeing an interior with an eighteenth century console table upon which a 1970’s lamp has been placed. Or a Tutti- frutti Cartier bracelet paired with a Martin Margiela dress. The perfectly orchestrated luxury hotel suite with a suave minimalist décor is lifeless. A sense of tension between materials, shapes or colours allows our humanity to emerge.   Even at the beginning of my career, I would design a strict, angular piece of furniture and then place organic and sensual pieces of porcelain or silver on it. The discourse between them would make the end result sing.   In Carats, I see a version of the same dynamic. Celestial crystals are set into earthly wood to create harmony. OD – How does one look after the Carats pieces of furniture?   PC - My practical Swiss upbringing has allowed me to make sure that the wood is protected against too much wear and tear with a coating. I will stress that wood is a natural

| THE ART OF CREATIVITY

Photo courtesy of Philippe Cramer ÂŠ Philippe Cramer

Jewellery Historian

Aura pendant necklace Profile of a loved one surrounded by aura emanations, 18kt gold and diamonds.

Photo courtesy of Philippe Cramer Â© Philippe Cramer

Jewellery Historian

| THE ART OF CREATIVITY

Jewellery Historian

| THE ART OF CREATIVITY

Wall console Carats whitened oak

One of the great characteristics of the Carats collection is that the individual pieces can work just as well as single works of art either on display in an entrance or a living room or as part of an ensemble.

material and should be looked after as any piece of furniture made of delicate wood. Extreme heat and sharp metal objects are no friends to Carats. Treating these pieces as one would an antique will work well. Artistic pieces of furniture are meant to be used as functional pieces, but with a little more care. That said, there is no need to worry too much, a bit of “history” will make them all the more cherishable. OD – How would you suggest to style a Carats sideboard or shelf unit in one’s home?   PC - One of the great characteristics of the Carats collection is that the individual pieces can work just as well as single works of art either on display in an entrance or a living room or as part of an ensemble. I would love to see the sideboard in a dining room paired with a raw Richter painting. Or a Carats entrance console table on which a collection of 1950s ceramic vases have been placed. Or simply with a series of family pictures as an ode to the ones you love.

Photo courtesy of Philippe Cramer © Philippe Cramer

www.philippecramer.com

Dining table Carats walnut

| THE ART OF CREATIVITY

Photo courtesy of Philippe Cramer ÂŠ Philippe Cramer

Jewellery Historian

Sculpted Dog ring Hand carved agate in the shape of the head of a Bulldog with onyx eyes and nose, 18kt gold and diamonds.

Hj Haute joaillerie

by Olivier Dupon

BVLGARI Bulgari and Elizabeth Taylor: a story of reciprocal love

Jewellery Historian

| HAUTE JOAILLERIE

H AU T E J OA I L L E R I E by Olivier Dupon

BVLGARI Bulgari and Elizabeth Taylor: a story of reciprocal love

| HAUTE JOAILLERIE

Photo courtesy of BVLGARI Â© BVLGARI

Jewellery Historian

The secret affair soon became public, and it appeared that the Bulgari shop, fitted with a convenient secret back door, became the new couple’s favourite respite destination. As their affair grew from burgeoning to blooming, so was the start of Mrs Taylor’s phenomenal collection of Bulgari haute joaillerie pieces; each one calibrated to celebrate a pivotal time in her whirlwind romance with Burton.

The famous movie studio Cinecittà is located just outside of Rome, not far from the Bulgari’s flagship store on the via dei Condotti. This geographical proximity gave birth to what is possibly the most powerful love affair of modern times: a female icon’s intimate bond with Italian high jewellery. As she settled in Rome in 1961 in Rome to shoot a defining role for her career, Isis, Queen of the Nile in the cinematic magnum opus Cleopatra, Elizabeth Taylor, was offered by her then husband, Eddie Fisher, her first piece from the eponymous Italian house, a superb en tremblant brooch in platinum with emeralds and diamonds that she wore both as a brooch and hair ornament. A floral delight that heralded one of two all consuming passions for the world to see: one for Bulgari, and subsequently the other for her male counterpart, Richard Burton, whom Elizabeth met on set, while they were both married. The secret affair soon became public, and it appeared that the Bulgari shop, fitted with a convenient secret back door, became the new couple’s favourite respite destination. As their affair grew from burgeoning to blooming, so was the start of Mrs Taylor’s phenomenal collection of Bulgari haute joaillerie pieces; each one calibrated to celebrate a pivotal time in her whirlwind romance with Burton. London, July 2016, the Bulgari boutique on New Bond Street, is paying homage to this important page of the Italian House’s history by hosting a retrospective of both some of Elizabeth Taylor’s extraordinary jewels (now part of Bulgari Heritage collection) and some of the archetypal costumes the star wore in the Joseph L. Mankiewicz epic movie. On the first floor of the store in the lavish grand salon, the scenography transports us back to glamorous times, with rare access to museum-quality wonders. For the occasion, we met with Lucia Boscaini, Bulgari Brand & Heritage Curator and Senior Director, who kindly gave us a tour. ‘In 2011, Christie’s held a sale of Taylor’s private collection, which set records as the most valuable sale of jewellery in auction history. From this sale, and under the provision of a special agreement with the Elizabeth Taylor trust, the Maison re-acquired seven pieces that best represented Taylor’s predilection for the brand and her unerring collector’s eye’, Boscaini explains. ‘It was a matter for us at Bulgari to buy not only important pieces to enrich our repertoire, but also pieces with a strong resonance to Elizabeth Taylor’s life and priorities.’ The tour started with the above-mentioned en tremblant brooch. ‘Of the three Taylor owned, we chose to acquire that one’, Boscaini adds. One of many anecdotes says that when Eddie Fisher subsequently divorced ElizabethTaylor, he wanted the brooch back. To which the star replied that she could live without her soon ex husband but categorically not without the jewel. Putting her money where her mouth was, she ended up buying the brooch back from him. The second jewel is the first piece of jewellery she received from Richard Burton as their affair was gaining momentum: a ring in platinum with an octagonal step-cut Colombian emerald (app. 7.4 cts) and twelve pear-shaped diamonds (app. 5.3 cts) that the star made a habit of wearing everyday even after her divorce from Burton. Testament to her incredible dedication to charities, and knowing how symbiotic to each and every one of her jewels she was, it is with sheer selfless generosity that she auctioned the ring

Photo courtesy of Rebecca BotinI Â© Rebecca Botin

Jewellery Historian

| HAUTE JOAILLERIE

Photo courtesy of BVLGARI Â© BVLGARI

Jewellery Historian

| HAUTE JOAILLERIE

Jewellery Historian

| HAUTE JOAILLERIE

Jewellery Historian

| HAUTE JOAILLERIE

Photo courtesy of Rebecca BotinI Â© Rebecca Botin

Jewellery Historian

| HAUTE JOAILLERIE

Photo courtesy of Rebecca BotinI Â© Rebecca Botin

Jewellery Historian

| HAUTE JOAILLERIE

Ring in platinum with emerald and diamonds 1962 It was the first jewel that Elizabeth Taylor received from Richard Burton in Rome during the filming of Cleopatra, when their “scandalous” love story started. The actress sold it in 2002 at a charity auction for “The Elizabeth Taylor AIDS Foundation” and in a letter addressed to the new owners, Taylor wrote “Wear it with love”. Formerly in the collection of Elizabeth Taylor Bulgari Heritage Collection

Photo courtesy of BVLGARI © BVLGARI

Jewellery Historian

Photo courtesy of Rebecca BotinI Â© Rebecca Botin

Jewellery Historian

| HAUTE JOAILLERIE

Jewellery Historian

| HAUTE JOAILLERIE

‘The first Trombino ring was indeed created by Georgio Bulgari, the father of Paulo, for his wife to be in 1934. The game changing design at the time subsequently became a signature for the house’, Boscaini observes.

in 2002 to support her AIDS foundation. ‘Wear it with Love!’ Taylor wrote in a note to the new owners. Now part of Bulgari Heritage collection, it beautifully complements the following set on display: a brooch & pendant in platinum with octagonal step-cut emerald (23.44 cts) and diamonds (created in 1958 and given to Taylor by Burton on their engagement in 1962), and a ‘matching’ necklace in platinum with 16 octagonal step-cut Colombian emeralds (total app. weight 60.5 cts) and diamonds (to celebrate their wedding in 1964). ‘Before the auction, we had decided that our budget would be limitless when it came to purchase the brooch and necklace. This is how essential these pieces are’, Boscaini shares. ‘The emeralds are not perfectly matching, even the diamonds are not, and this gives a peculiarity to the neckpiece, however the size of the main verdant gem shows how special it is. For an emerald that size to be cut, it is truly impressive.’ Created in 1969, an exceptional sautoir in platinum with sapphires and diamonds was offered to her by Burton in 1972 for her fortieth birthday. If one jewel epitomizes their respective devotion, this would be the one as Burton wanted to evoke the famous violet colour of his beloved’s eyes. ‘This is also for us the one piece that we had to acquire no matter if it had belonged to a celebrity or not. It is such a masterpiece with an octagonal design that is a symbol of perfection in antique Rome. The sugarloaf-cut sapphire itself is one of the most precious gems ever; it is also very smooth. Its thickness made it particularly difficult to set so to prevent it from being too dark,’ Boscaini says, ‘it was mounted inside a kind of diamond-paved “volcano” that maintains some emptiness behind the stone and hereby let light through.’ Some time after, Taylor bought herself a ring to go with the sautoir: Trombino ring in platinum with a Burmese sugar-loaf cabochon sapphire (25 cts) and diamonds. This design was important for Bulgari to add to their Heritage collection more for its resonance with the in-house history than the gem itself. ‘The first Trombino ring was indeed created by Georgio Bulgari, the father of Paulo, for his wife to be in 1934. The game changing design at the time subsequently became a signature for the house’, Boscaini observes. The exhibition is above all a rare immersion in defining events for contemporary culture as Elizabeth Taylor’s life on and off screen was public; it also provides an intimate insight into the world of a woman who thought wearing jewellery was natural (the photographs of her public appearances attest to that as one can see her wearing her Bulgari treasures on so many occasions), and who breathed Bulgari high jewellery as a way of life, a way of love. OD www.bulgari.com

Jewellery Historian

| HAUTE JOAILLERIE

Taylor received it as a wedding gift from her husband Richard Burton in 1964. The pendent element, created in 1958 as a brooch, was given to Elizabeth Taylor by Burton for their engagement in 1962 and worn by the actress in their wedding day in 1964. Formerly in the collection of Elizabeth Taylor Bulgari Heritage Collection

Photo courtesy of BVLGARI ÂŠ BVLGARI

Magnificent necklace in platinum and emeralds 1962

Jewellery Historian

| HAUTE JOAILLERIE

Magnificent necklace in platinum and emeralds 1962 Taylor received it as a wedding gift from her husband Richard Burton in 1964. The pendent element, created in 1958 as a brooch, was given to Elizabeth Taylor by Burton for their engagement in 1962 and worn by the actress in their wedding day in 1964.

Photo courtesy of BVLGARI ÂŠ BVLGARI

Formerly in the collection of Elizabeth Taylor Bulgari Heritage Collection

Photo courtesy of BVLGARI Â© BVLGARI

Jewellery Historian

| HAUTE JOAILLERIE

Photo courtesy of Rebecca BotinI Â© Rebecca Botin

Jewellery Historian

| HAUTE JOAILLERIE

Jewellery Historian

| HAUTE JOAILLERIE

Jewellery Historian

| HAUTE JOAILLERIE

“Tremblant” brooch in platinum with emeralds and diamonds 1960 The brooch was probably given to Elizabeth Taylor by Eddie Fischer, her husband at the time, and was worn both as a brooch and hair ornament.

Photo courtesy of BVLGARI © BVLGARI

Formerly in the collection of Elizabeth Taylor Bulgari Heritage Collection

Jewellery Historian

| HAUTE JOAILLERIE

Jewellery Historian

| HAUTE JOAILLERIE

Photo courtesy of BVLGARI © BVLGARI

Formerly in the collection of Elizabeth Taylor Bulgari Heritage Collection

Jewellery Historian

| HAUTE JOAILLERIE

Jewellery Historian

| HAUTE JOAILLERIE

Sautoir in platinum with sapphires and diamonds 1969 The jewel was a gift from Richard Burton to Elizabeth Taylor in 1972 for the fortieth birthday. “Trombino” ( as its shape is reminiscent of a small trumpet) ring in platinum with sapphire, 1971.

Taylor casually came across this ring perfectly complementing the magnificent sautoir. The two pieces were not intended to be a parure, yet they became a “perfect couple”.

Photo courtesy of Rebecca BotinI © Rebecca Botin

Formerly in the collection of Elizabeth Taylor Bulgari Heritage Collection

| HAUTE JOAILLERIE

Photo courtesy of BVLGARI ÂŠ BVLGARI

Jewellery Historian

Sautoir in platinum with sapphires and diamonds 1969 The jewel was a gift from Richard Burton to Elizabeth Taylor in 1972 for the fortieth birthday.

Formerly in the collection of Elizabeth Taylor Bulgari Heritage Collection

Photo courtesy of Rebecca BotinI © Rebecca Botin

Jewellery Historian

| HAUTE JOAILLERIE

Hand mirror Gold hand mirror decorated with an Egyptian inspired raptor set with calibrated cut turquoise, 1962. The mirror was probably given as a gift to the actress by the production of Cleopatra Formerly in the collection of Elizabeth Taylor Bulgari Heritage Collection

Photo courtesy of BVLGARI ÂŠ BVLGARI

Jewellery Historian

| HAUTE JOAILLERIE

Photo courtesy of BVLGARI ÂŠ BVLGARI

Jewellery Historian

Sautoir in platinum with sapphires and diamonds 1969 The jewel was a gift from Richard Burton to Elizabeth Taylor in 1972 for the fortieth birthday. Formerly in the collection of Elizabeth Taylor Bulgari Heritage Collection

Jewellery Historian

| HAUTE JOAILLERIE

“Trombino” ring in platinum with sapphire and diamonds 1971

Formerly in the collection of Elizabeth Taylor Bulgari Heritage Collection

Photo courtesy of BVLGARI © BVLGARI

Taylor casually came across this ring perfectly complementing the magnificent sautoir. The two pieces were not intended to be a parure, yet they became a “perfect couple”.

Jewellery Historian

| THE ART OF CREATIVITY

T H E A R T O F C R E AT I V I T Y by Olivier Dupon

Aida Bergsen Once upon a timeâ&#x20AC;ŚAny attempt to describe Aida Bergsenâ&#x20AC;&#x2122;s jewels should start with the famous fairytale introduction; portable sceneries, naturalistic and enchanting worlds, all encompassed in a miniature dimension.

Photo courtesy of Aida Bergsen Â© Aida Bergsen

Jewellery Historian

| THE ART OF CREATIVITY

‘It also symbolizes healing as in covering the wounds with good memories, especially my wounds after losing people I love, primarily my father.’

Once upon a time…Any attempt to describe Aida Bergsen’s jewels should start with the famous fairytale introduction; portable sceneries, naturalistic and enchanting worlds, all encompassed in a miniature dimension. Frogs, swallows, lizards and flies frolic amongst minute flowers and leaves, sometimes overlooking the mysterious depth of a pond evoked by smoky quartz. Somehow this meticulous recreation of flora and fauna echoes the Dutch Golden Age of old masters’ still life paintings, albeit in its own way with precious metals (rose or blackened gold, bronze, oxidized silver) and gems (rose & round cut diamonds, emeralds, rubies etc.). The comparison is even more compelling when it comes to Aida’s new creation, a first neckpiece that christens a new collection, Convolvulus Sepium. Conversely Aida Bergsen pieces contain an extra layer, the artist’s personal imprint. “Convolvulus Sepium – a.k.a. Calystegia sepium - is a species of bindweed, a climbing plant that eventually could cover everything. It also means "beautiful covering" in Latin, and it brings me back to our garden in Cyprus with golden memories’, Aida says. ‘It also symbolizes healing as in covering the wounds with good memories, especially my wounds after losing people I love, primarily my father.’ Fikri Direkoglu was a painter who graduated from the Goldsmiths College in London in 1955 and who subsequently studied in the École Nationale Supérieure des Beaux-Arts in Paris. ‘He was not a goldsmith, but primarily a painter - one of the most important artists in Cyprus whose works have been printed on national stamps as well’, Aida says. Notably he always encouraged his daughter in her work.‘After I lost my father, I find myself always hiding in my childhood house's garden. This is how my flora & fauna pieces took their places in my themes. Although they are colourful and joyful, there is a dark and very deep side as well’, Aida explains. 18K yellow gold is used to pepper the foliage with golden accents (sepals, leaves and intertwining stems) while the oxidized silver is the dark base. Intermittently some trumpet flowers are made of vitreous enamel in pale shades of pinkish cream, and they exude extra softness in the overall delicacy, as if hopefulness was re-emerging. ‘Nature is the inimitable, ultimate masterpiece of all time that inspires every creative being in many ways. Personally I am a very devoted watcher and admirer of this sublime reference’, Aida shares. Full cut and rose-cut diamonds make for scintillating stigmas, but the real hero of the tableau is the en tremblant humming bird. If someone passes next to it, the bird will start trembling for ten minutes, an additional ingenious kinetic layer that injects life into the neckpiece. ‘I see myself as a sculptor cum storyteller. For me, jewellery design is an opportunity to share a story. Although my work may appear quite objective, each theme has an underlying reference to a very personal and significant experience. It is a very individual expression’, she says. This project took Aida three months of intense crafting with a full-on creative period at the start. The inception was especially long in the making: ‘imagining, dreaming and planning the pieces probably took years. This is the first rendition of the Convolvulus Sepium series, and I will definitely continue to seek refuge by delving into my childhood memories in the coming years.’ - OD www.aidabergsen.com

Photo courtesy of Aida Bergsen © Aida Bergsen

Photo courtesy of CARNET © CARNET

Jewellery Historian

| THE ART OF CREATIVITY

Hj Haute joaillerie

by Olivier Dupon

HARRY WINSTON Sparkling Cluster

Jewellery Historian

| HAUTE JOAILLERIE

H AU T E J OA I L L E R I E by Olivier Dupon

HARRY WINSTON Sparkling Cluster

Photo courtesy of HARRY WINSTON Â© HARRY WINSTON

Jewellery Historian

| HAUTE JOAILLERIE

Timelessness is a quality that allows an object from one period to be understood and appreciated in another era without reference to its historical context. In that respect, the trio of beauty, simplicity, and elegance, when achieved as in Sparkling Cluster, is eternally modern, while continuing to enchant the viewer and command attention in the centuries ahead.

In a time of worrying uncertainties, a reversion to comforting keepsakes prevails. A back-to-basics approach that underlines what matters most. This is why the supremely clear message of Sparkling Cluster, the new fine jewellery collection by Harry Winston, seems timely and a welcome respite in a rather saturated market. An array of top quality colourless diamonds delicately set in Platinum – nothing more, nothing less – an exquisite set of timeless heirlooms. Compared to Harry Winston’s more showstopping renditions, Sparkling Cluster is a demure affair, and for that reason it will appeal to many women who want investment pieces without the ‘look-at-me’ factor. This investment is manifested in terms of quality (the Harry Winston’s guaranty of excellence; diamonds are all DEF in colour and VVS1, VVS2, VS1, VS2 for clarity), in terms of opportunity (the ultimate versatile proposition, fine diamond jewellery for night and day) and in terms of emotional resonance (less is more). In other words, as much a scintillating constellation as an emotional safe haven, any piece from Sparkling Cluster appears to be a must-have. Timelessness is a quality that allows an object from one period to be understood and appreciated in another era without reference to its historical context. In that respect, the trio of beauty, simplicity, and elegance, when achieved as in Sparkling Cluster, is eternally modern, while continuing to enchant the viewer and command attention in the centuries ahead. It can also be said that an object becomes timeless when it exceeds our previous expectations, breaking away from the past and the conventional. In this respect Sparkling Cluster delivers generously: the diamonds in various sizes and cuts (pear and round brilliant) are set in deceptively random yet organic formations, so that each piece emulates the free-flowing style found in light brush strokes. The feel is graceful and highly feminine. The ring (12 diamonds / total of 2.35cts), bracelet (59 diamonds / total of 10.19cts) and pendant (11 diamonds / total of 2.24cts) all have a gentle Hertzian linearity, while the necklace (151 diamonds / total of 15.39cts) evokes the pointillism of a painted work of art. It must be said that the diamond clusters seem to float, as the settings are all but invisible. It is pareddown to the essential: the beauty of diamonds first and foremost. Although the aesthetics of the ensemble are squarely modern, Sparkling Cluster will be passed down from one generation to the next for many years to come as all these new pieces feel steeped in Harry Winston’s inimitable style, even the ear climbers, a trend elsewhere,,.become a reference here. www.harrywinston.com

Photo courtesy of HARRY WINSTON Â© HARRY WINSTON

Jewellery Historian

| HAUTE JOAILLERIE

Photo courtesy of HARRY WINSTON Â© HARRY WINSTON

Jewellery Historian

| HAUTE JOAILLERIE

Photo courtesy of HARRY WINSTON Â© HARRY WINSTON

Jewellery Historian

| HAUTE JOAILLERIE

Photo courtesy of HARRY WINSTON Â© HARRY WINSTON

Jewellery Historian

| HAUTE JOAILLERIE

Photo courtesy of HARRY WINSTON Â© HARRY WINSTON

Jewellery Historian

| HAUTE JOAILLERIE

B R E AT H TA K I N G B E AU T Y O F G E M S

PERIDOT by Eva Kountouraki

Fresh, lively, new-blooming nature, bright morning sunshine on grass, happiness. Peridot, with its yellowish green colour, was always associated with light. It is an ancient gem that has always inspired feelings of delight to the humans.

| BREATHTAKING BEAUTY OF GEMS

Photo courtesy of LYDIA COURTEILLE Â© LYDIA COURTEILLE

Jewellery Historian

An exceptional tiara by Ludia Courteille

100

Jewellery Historian

The Egyptians called it “the gem of the sun”, while other ancient cultures would use it as a protective amulet against the terrors of the darkness and night.

| BREATHTAKING BEAUTY OF GEMS Fresh, lively, new-blooming nature, bright morning sunshine on grass, happiness. Peridot, with its yellowish green colour, was always associated with light. It is an ancient gem that has always inspired feelings of delight to the humans. The Egyptians called it “the gem of the sun”, while other ancient cultures would use it as a protective amulet against the terrors of the darkness and night. The peridot we use in our jewelry is the gem variety of the mineral olivine, which is found in the earth’s upper mantle and reaches us in lava flows when tremendous forces split the Earth’s crust and some of our planet’s most ancient rocks, while in molten state, move upwards with violent eruptions. Moreover, a few years ago, peridot was encountered in comet dust brought back to us by a spacecraft. Scientists have discovered that some of these “extraterrestrial” peridot crystals found in pallasite meteorites are as old as 4.5 billion years old! Peridotite, one of the rocks that make up the Earth’s mantle and takes its name from the high olivine content in its chemistry, sometimes provides the formation environment for the precious diamonds. Peridot is a strong mineral that survives extreme conditions, and is usually found as irregular nodules in solidified molten rock in Pakistan, Myanmar, US, China, among others, while its most ancient source, still producing today, is the island of Zabargad in the Red Sea. Some areas however, produce large and euhedral crystals that are both sold for gem use and for collections. It is rich in iron which is the element that gives it its colour, and being idiochromatic, it has a quite narrow color range, from brown to a precious and rarely seen intense green, with yellowish green being its most marketable and recognizable hue. Peridot is encountered in some valuable historical treasures. One of those is the famous Shrine of the three Kings. It is the largest and most artistically significant reliquary of the Middle Ages, transported from Milan to Cologne in 1164, where it is still located today. It is an important piece of history that attracts thousands of pilgrims every year, into which the bones of the three Magi, Melchior, Balthazar, and Gaspar are believed to be sealed. The shrine is made of gold and other precious metals, and adorned with more than 1000 precious stones. For many years, it was believed that many of these gemstones, including one large green gem, were emeralds, but they were identified as peridots late in the last century. Peridot is one of the few gemstones that are not artificially created, and do not respond to enhancements. It is only imitated by other transparent materials of similar color. It is a relatively durable crystal suitable for everyday use, although it is not as hard as other gems and with careless use it can easily show signs of abrasion, so protective settings are preferred; it also requires some sensitive handling as far as chemicals are concerned.

101

Photo courtesy of ETHO MARIA Â© ETHO MARIA

Jewellery Historian

| BREATHTAKING BEAUTY OF GEMS

An amazing bangle bracelet by Etho Maria

102

Jewellery Historian

The ancient Romans loved the brightness of peridot’s color that would remain unchanged even in dim light and for this reason called it with the misnomer “evening emerald”, while legends say that peridot will bring joy and love to the wearer. Today, it is considered to be the birthstone of the summer month August, while for the Hawaiians peridot is the gift of the volcano goddess Pele. Pele, who lives inside the active volcanoes, is mentioned in traditional Hawaiian chants as a very mighty goddess whose power and temper could only be compared to the ferocity of the flowing lava. With every eruption, she expresses her desire to be with her true love.. Because of the association of peridot with the volcanoes, it is considered to be the goddess’s tears. A wise man says that “what is to give light, must endure the burning”. It is a phrase that can sum up peridot’s path; from the flaming hot lava to one of the brightest gemstones, peridot reminds us to keep the faith that the hardest times pass and will often lead us to the greatest moments of our lives.

Photo courtesy of LYDIA COURTEILLE © LYDIA COURTEILLE

...for the Hawaiians peridot is the gift of the volcano goddess Pele. Pele, who lives inside the active volcanoes, is mentioned in traditional Hawaiian chants as a very mighty goddess whose power and temper could only be compared to the ferocity of the flowing lava.

| BREATHTAKING BEAUTY OF GEMS

Exceptional earrings by Lydia Courteille

103

| BREATHTAKING BEAUTY OF GEMS

Photo courtesy of MAGERIT Â© MAGERIT

Photo in PUBLIC DOMAIN

Jewellery Historian

A unique ring by Magerit

104

Jewellery Historian

| THE ART OF CREATIVITY

T H E A R T O F C R E AT I V I T Y by Olivier Dupon

Otto Jakob A German jewellery maestro, Jakob is the archetypical Renaissance artist: part explorer, part collector, a purveyor of talismans and an adept of minutiae. 105

Photo courtesy of Otto Jakob © Otto Jakob

106

Photo courtesy of CARNET © CARNET

Jewellery Historian

| THE ART OF CREATIVITY

Notwithstanding his drive, at first his artistic ambition was somehow misplaced. As a young man, Jakob thought that painting was his calling. He even studied under Georg Baselitz during the short period in which the famous German painter was a professor in Karlsruhe at the Staatliche Akademie der Bildenden Künste.

TEFAF, Maastricht, 2016. Out of the corner of my eye, I spot a dramatic floral arrangement mixing bark and Gloriosa; however, to be fully able to view it, one has to look up. The bouquet is indeed positioned high above eye level, as if suspended mid-air on the anthracite-coloured wall. As with everything else Otto Jakob does, one should not expect to hold on to conventional expectations when viewing this work, rather one should be open to being mesmerised. Jakob embraces creativity with such intent that whatever enters into his ebullient mind has to come to fruition, so that his hands are impeccably tuned to interpreting his train of thoughts. This indicates an unbridled curiosity, a propensity for experiment and delving into uncharted territory, as well as a total control over process. A German jewellery maestro, Jakob is the archetypical Renaissance artist: part explorer, part collector, a purveyor of talismans and an adept of minutiae. Entirely self-taught in replicating whatever he sets his mind to expressing with his jewels and objets d’art (a crafting technique, a theme, or a combination of both, Jakob decided to learn highly complex theories and techniques from an early age, and by delving into the works of eminent figures such as Roman author Pliny the Elder and sculptor Benvenuto Cellini (the Italian man of many talents – a goldsmith, sculptor, poet, soldier and musician). The thing is that Jakob always knew he had to ‘achieve’, in the sense of bringing ideas into reality. ‘I do not see myself as a head of a fine jewellery house. I rather consider myself to be an independent artist, who is not only the head but also the hands behind his work’, Otto shares. ‘I have always had that – the urge to make something creative and exceptional – long before I knew I would end up making jewellery. This urge came from deep within me, but was formed and directed by the course my interests took me in, and in the end, just by accident. No matter the route I would have taken, it would have been that of a creative endeavour.’ Furniture making? Otto loves the way in which art nouveau designer Carlo Bugatti made his furniture ‘by ignoring the academic history of cabinetry and by creating his own, completely atypical and futuristic pieces’. Or could he have become a surgeon? ‘The research [to discover] new possibilities to develop complex cuts would have excited me. As it has been in jewellery-making, my motivation would have remained the same in any other field – that is, to cause a change and bring an improvement.’ Notwithstanding his drive, at first his artistic ambition was somehow misplaced. As a young man, Jakob thought that painting was his calling. He even studied under Georg Baselitz during the short period in which the famous German painter was a professor in Karlsruhe at the Staatliche Akademie der Bildenden Künste. ‘I worked a lot and was very devoted to the process,’ he says, ‘but I was never satisfied with my paintings, always doubting [them]. I kept changing my style, as I kept looking for my own iconography. I aspired to produce something that would leave an impact, and painting wasn’t the way to do so.’ So Jakob, a young man on a quest to realise his true self, decided to quit painting. He left the Akademie and went through a period of deep introspection. In the process, he destroyed almost everything he had ever painted. A radical purge; that is a thing of great bravery and shows immense integrity. One night, while he was in this period of searching for new modes of expression, he had an epiphany. Had he not prepared himself a clean slate, would this have happened? ‘I dreamed of jewellery, and in my dreams I saw fantastic, wild jewels. I woke up,’ he recalls, ‘and there were so many things going through my head, I didn’t have time to sketch, so I wrote them down. When I made that list and thought it was magnificent, I started working, and this was the start of my true artistic career.’ It was 1980.

107

| THE ART OF CREATIVITY

Photo courtesy of Otto Jakob © Otto Jakob

Photo courtesy of CARNET © CARNET

Jewellery Historian

Hand With Grass Carp, 2015, one of a kind   Pendant in the shape of a grass carp that tries to twist itself free from the holding hand. The white enameled hand is tattooed with splashes of golden droplets; it wears a bracelet set with diamonds, and a pair of diamond and tourmaline-set rings. The carp’s engraved scales are enameled black and covered with translucent purple, golden brown and turquoise enamels. The eyes are composed of rock crystal lenses with pupils set on the reverse and underlaid with radially engraved iris discs of partially oxidized white gold.  18K and 22K Yellow and partially oxidized white gold, green tourmaline, rose-cut diamond, vitreous enamel, painted gold, 199 micro pavéset black, white and brown diamonds.

108

| THE ART OF CREATIVITY

109

Photo courtesy of Otto Jakob Â© Otto Jakob

Jewellery Historian

| THE ART OF CREATIVITY

Photo courtesy of Otto Jakob © Otto Jakob

Jewellery Historian

Dragon, 2011   Partially oxidized white gold, vitreous enamel

110

| THE ART OF CREATIVITY

Photo courtesy of Otto Jakob Â© Otto Jakob

Jewellery Historian

111

| THE ART OF CREATIVITY

Photo courtesy of Otto Jakob Â© Otto Jakob

Jewellery Historian

112

| THE ART OF CREATIVITY

Photo courtesy of Otto Jakob © Otto Jakob

Jewellery Historian

Kapok Sapphire, 2014, one of a kind   Inspired by the growth of kapok trees in South Eastern Asian rainforest.  Partially oxidized white gold, sapphire, micro pavé set black and brown diamonds.

113

| THE ART OF CREATIVITY

Photo courtesy of Otto Jakob Â© Otto Jakob

Jewellery Historian

114

Jewellery Historian

| THE ART OF CREATIVITY

Photo courtesy of Otto Jakob © Otto Jakob

Rositas, 2009, one of a kind   Ivory, conch shell, white gold, diamonds

115

Jewellery Historian

| THE ART OF CREATIVITY

116

Photo courtesy of Otto Jakob © Otto Jakob

Nadu, 2011   Yellow gold, diamonds

His jewellery is unapologetically intended for educated or appreciative people; it is jewellery that proposes, as he describes it, ‘a clash of archetypes and futurism’.

The self-doubts that had always accompanied his painting were gone and, at that moment, Jakob knew he had found the starting point for his personal development. ‘Of course, I still remained very critical of my own work and its technical perfection. Particularly in the early days, many things were discarded and started anew, until I was satisfied with the end result’, he adds. Each annual collection of twenty-five to thirty new pieces (all one-off designs that stand alone or complement a chosen theme) is accompanied by a bound, hardback catalogue, which is in a different colour each year and is superbly illustrated with images of the jewels, including close-ups. The latter is not an exercise in vanity but an essential addition. The amount of detail in each rendition is such that some are difficult to see with the naked eye, and a magnifying perspective is necessary. Take the group of oneof-a-kind earrings that showcased petrified corals from Java, or the series of hands holding different catches. ‘Hand with Grass Carp’ pendant (2016), a one-of-a-kind piece – which follows ‘Hand with Pangolin II’ (2016), ‘Hand with Panther Chameleon’ (2016), ‘Hand with Koi’ (2015), ‘Hand with Mushroom I’ (2009), ‘Hand with Snail’ and ‘Hand with Chameleon’ (both 2006) - is in the shape of a grass carp trying to twist itself free from the holding hand. The story goes that, true to his habit of seeking perfection and achieving the best resemblance possible, Jakob took photographs of himself holding an actual, live carp. In the pendant, the white enamelled hand is tattooed with splashes of golden droplets; it wears a bracelet set with diamonds, and a pair of diamond- and tourmaline-set rings. The carp’s engraved scales are enamelled in black and covered with translucent purple, golden-brown and turquoise enamels. The eyes are composed of rock-crystal lenses, with pupils set on the reverse, and underlaid with radially engraved ‘iris’ discs of partially oxidised white gold. ‘It took me two days to play around with the eyes and try three different approaches. The final version is very simple: it is a golden disk with radial engravings underneath a convex rock-crystal lens with a black dot for a pupil. The trick was to figure out the best arch for the lens, and to position the pupil on the lens and not on the disk. It is very obvious in retrospect, but a lot of analytical observation is required to understand what makes an eye an eye, and to transfer this understanding into a different material’, Jakob points out. Each piece commands the same meticulousness and attention to microscopic details. There is no simplicity or shortcuts here; the designs are intricate and complex, with slightly phantasmagorical motifs – a far cry from what Jakob stands against and describes as ‘omnipresent signature symbols that aspire to be plain enough to be understood by the simplest of minds’. His jewellery is unapologetically intended for educated or appreciative people; it is jewellery that proposes, as he describes it, ‘a clash of archetypes and futurism’. The ‘Medusae’ series is a prime example. ‘Medusae IX’ and ‘Medusae X’ (both 2016) are both one-of-a-kind, Medusa-inspired earrings in partially oxidized white gold, with turned umbrellas made of horn and smoky quartz, and orange carnelian and yellow-green prehnite, respectively. The tentacles of ‘Medusae IX’ are carved from coral, jet and warthog ivory, and embellished with dangling Taviz-cut diamonds and tiny, turned yellow gold pillars; for ‘Medusae X’, they are made from spotted Mookaite jasper and translucent blue chalcedony, and embellished with tiny, turned golden pillars and Briolette-cut diamonds. The central tentacle of this second work is a long turned pillar with four tiny briolette tentacles of its own. Far from being gimmicky, all of the jewellery bears medieval (e.g. gargoyles and dragons) and architectural (e.g. Gothic-style) connotations, as well as organic elements (picture the delicacy of flora with en tremblant pistils, or the use of gold casts of tropical beetles). With Jakob’s jewellery, one is invited to travel through time and places, and

117

| THE ART OF CREATIVITY

Photo courtesy of Otto Jakob © Otto Jakob

Jewellery Historian

Crystal Cross 12/2012, 2012, one of a kind   Partially oxidized white gold, blood-red spinel, diamonds, rubies, and double-ended rock crystal with three-phase inclusions of tar, oil and natural gas

118

| THE ART OF CREATIVITY

Photo courtesy of Otto Jakob ÂŠ Otto Jakob

Jewellery Historian

Ninigi III, 2013, one of a kind â&#x20AC;¨ Hoop earrings forged of square tubes of yellow sheet gold, covered with lemony yellow enamel with celadon glaze effect, and embellished with diamond set white gold barnacles.

119

Jewellery Historian

| THE ART OF CREATIVITY

120

| THE ART OF CREATIVITY

Medusae IX, 2016, one of a kind â&#x20AC;¨ Medusa inspired earrings of partially oxidized white gold with turned umbrellas of horn and smoky quartz. The tentacles are carved from coral, jet and warthog ivory, and embellished with dangling taviz-cut diamonds and tiny turned yellow gold pillars.

121

Photo courtesy of Otto Jakob ÂŠ Otto Jakob

Jewellery Historian

| THE ART OF CREATIVITY

Medusae X, 2016, one of a kind â&#x20AC;¨ Medusa inspired earrings of partially oxidized white gold with translucent turned umbrellas of orange carnelian and yellow- green prehnite. The tentacles are carved from spotted Mookaite jasper and translucent blue chalcedony, and embellished with tiny turned golden pillars and diamond briolettes. The central tentacle is a long turned pillar with 4 tiny briolette tentacles of its own.

122

Photo courtesy of Otto Jakob ÂŠ Otto Jakob

Jewellery Historian

The earliest collectors of Jakob’s work were important artists and art dealers from Europe and the United States. Nowadays, TEFAF Maastricht is the main annual event where Jakob introduces the new pieces; each time imagining a striking booth in which lighting, cabinet displays and the texture of the surfaces are all perfectly calibrated to the master’s vision.

take on the explorer’s mentality of their maker. A keen rare seed and plant collector, Jakob credits this other passion with helping ‘expand his horizon. My portfolio would have been much smaller had I not had this complementary fascination with flora (e.g. Cyphostemma, rosary vine, Ipomoea, etc.)’, he says. ‘Knowledge about other areas of the cosmos creates the opportunity to develop a larger frame of experimentation.’ Does Jakob think that there is anything quintessentially German about his jewellery? ’Yes, the sharpness of both the details and the content: radical disruptions, clash of different elements. It is quite “rough”, yet it contains a very elaborate iconography that embraces several areas – figural, topical, and organic’, he observes. Through the use of natural, uncut and unpolished crystals (rock crystals, tourmalines, aquamarines) for his cross designs Jakob instills a sort of man-made antiquity. Furthermore, he routinely includes tropical seeds, rare minerals – which he sources more frequently from mineral fairs than from the jewellery industry – vitreous enamel, painted gold ornaments and patinated white and yellow gold. ‘This gives the gold a silky finish. For white gold, I use a particular alloy - or “gris” – that looks like tin’, Jakob adds. Appropriately enough, engraving is a technique he revels in: ‘it provides amazing refinement that cannot be reached with any other tool: microscopic, razor-sharp details on the smallest scale. If this archaic technique is perfected routinely, the results are incomparable with whatever any machine can do. A graver is truly a magic tool to embellish tiny spaces with highest precision.’ The ‘Hand With Grass Carp’ mentioned above stands out as a good example of the Gesamtkunstwerk or total work of art, which goes beyond triggering associations to tell a complete story. Like all of his other creations, it is a mixture of different materials and different techniques, combined with extreme technical precision. A panoply of techniques and components are wisely juxtaposed within one creation, though discreetly enough that they do not attract the wrong kind of attention. ‘I like my jewellery to be the kind that deceives a thief, yet turns the head of a connoisseur’, Jakob shares. He offers a funny anecdote to that effect: ‘One of my important collectors told me of an amusing encounter she had at a consumer electronics store. The cashier noticed the ring on her finger, one with a large diamond, and complimented her: “what an awesome ring you have! Be glad that it’s not real!”’ The earliest collectors of Jakob’s work were important artists and art dealers from Europe and the United States. Nowadays, TEFAF Maastricht is the main annual event where Jakob introduces the new pieces; each time imagining a striking booth in which lighting, cabinet displays and the texture of the surfaces are all perfectly calibrated to the master’s vision. This year, they will also exhibit at the inaugural TEFAF NY Fall in October. In addition, Otto Jakob creations are exhibited at the Daniel Blau gallery in Munich, and at Colnaghi and Hancocks galleries in London. A presence side by side with antique dealers is the best fit for jewels appealing to connoisseurs, amateur scholars of history and culturally curious minds. The museum quality of Otto Jakob jewellery is evident, but so is its desirability. Some of the hidden details will be known only to the owner. And, as each jewel, or miniature artwork, is entirely devised by Jakob, one can learn about everything that went into the piece whose spell one has fallen under, and this means layer after layer of fascinating storytelling. www.ottojakob.com

123

| THE ART OF CREATIVITY

Photo courtesy of Otto Jakob © Otto Jakob

Jewellery Historian

Seraph, 2012, one of a kind   White gold, Asscher-cut diamond, ruby, micro pavé-set diamonds and rubies

124

| THE ART OF CREATIVITY

Photo courtesy of Otto Jakob Â© Otto Jakob

Jewellery Historian

125

Jewellery Historian

| THE ART OF CREATIVITY

126

| THE ART OF CREATIVITY

Photo courtesy of Otto Jakob © Otto Jakob

Jewellery Historian

Kapok Diamond, 2014, one of a kind   Inspired by the growth of kapok trees in South Eastern Asian rainforest.  Partially oxidized white gold, diamond, micro pavé set black and brown diamonds.

127

Photo courtesy of Otto Jakob © Otto Jakob

Jewellery Historian

| THE ART OF CREATIVITY

Generals, 1985, one of a kind   21K yellow gold, rock crystal, ebony

128

Jewellery Historian

| THE ART OF CREATIVITY

Tetra Twins, 2010   Partially oxidized white gold, diamonds  Guardian, 2010, one of a kind  White and yellow gold, rock crystal, mother of pearl, brown diamonds, yellow sapphire

129

| THE ART OF CREATIVITY

130

Photo courtesy of Otto Jakob Â© Otto Jakob

Jewellery Historian

| THE ART OF CREATIVITY

Photo courtesy of Otto Jakob © Otto Jakob

Jewellery Historian

Asantewaa, 2014, one of a kind   Ring inspired by traditional Ashanti bracelets. Partially oxidized white gold, yellow sapphire.

131

| THE ART OF CREATIVITY

Photo courtesy of Otto Jakob ÂŠ Otto Jakob

Jewellery Historian

Korol, 2016, one of a kind â&#x20AC;¨ Earrings with diamond-set flaming stars that are inlaid in coral. The coral cabochons are set in hexagonal yellow gold frames, whose facets are enameled black and embellished with diamond set ornaments of white gold.

132

Jewellery Historian

| THE ART OF CREATIVITY

Swivel ring with an ornate cloisonné enameled hoop and a two- faced bezel: one side reveals a historical diamond, while the other shows an engraved ornament with micro pavé set diamonds and vitreous enamel.

133

Photo courtesy of Otto Jakob © Otto Jakob

Mjölnir, 2016, one of a kind

| THE ART OF CREATIVITY

134

Photo courtesy of Otto Jakob Â© Otto Jakob

Jewellery Historian

| THE ART OF CREATIVITY

Pangabangan, 2014 ( detail )   Bracelet inspired by driftwood and shells that are washed onto a shore by drifts, waves and tides. Made of a textile band, nature casts of plum and kiwi branches in partially oxidized rose gold, and nature casts of scallops, limpets and a horsehair crab’s cheliped shell in partially oxidized white gold.

135

Photo courtesy of Otto Jakob © Otto Jakob

Jewellery Historian

| THE ART OF CREATIVITY

Photo courtesy of Otto Jakob © Otto Jakob

Jewellery Historian

Jaina, 2014, one of a kind   White and yellow gold, Brazilian Paraiba tourmalines, nature cast of a Latirolagena smaragdula shell

136

Jewellery Historian

| THE ART OF CREATIVITY

T H E A R T O F C R E AT I V I T Y by Olivier Dupon

Japanese Jewelers Directory The Directory is a selection of todayâ&#x20AC;&#x2122;s most inspiring Japanese jewellery designers. Yet these names are rarely recognised overseas. Japan is out of the mainstream in this field with language perhaps the major contributing reason. Olivier Dupon meets editor Ikuko Watanabe for an exclusive interview.

137

138

Photo courtesy of Ikuko Watanabe Â© Ikuko Watanabe

Jewellery Historian

| THE ART OF CREATIVITY

Not only does this book shed light on amazing designers, it also puts Japanese craftsmanship front and centre. Japan is a land of makers and t r a d i t i o n a l t e c hniques still in use to this day in many genres with nothing but excellence in mind.

My dream bookshelf would certainly include many books about jewellery design and if you are like me, you would be keeping a keen eye out for any new releases. Between monographs by famous jewellery brands and historical accounts (jewellery through the ages), there is yet another category I cannot resist: one that presents a genre. So when a new ‘genre’ book is also the first of its kind, exploring a previously unexamined subject, there is cause for celebration. I am talking about the Japanese Jewelers Directory. To start with it is bilingual (Japanese / English), in itself quite a rarity for a Japanese publication. For this we have to thank editor Ikuko Watanabe, who has tirelessly been promoting both Japanese and Western jewellers in her own bi-annual glossy magazine, Brand Jewelry for years (disclaimer: I am a regular contributor to Brand Jewelry magazine). The Directory is a selection of today’s most inspiring Japanese jewellery designers. Yet these names are rarely recognised overseas. Japan is out of the mainstream in this field with language perhaps the major contributing reason. Whereas most western brands have been cornering the Japanese market for years, it was just a matter of time before the scales tipped in favour of the rich reservoir of home-grown talent. Not only does this book shed light on amazing designers, it also puts Japanese craftsmanship front and centre. Japan is a land of makers and traditional techniques still in use to this day in many genres with nothing but excellence in mind. A last chapter in the book, ‘Traditional Techniques’, specifically investigates five topics (Metalwork, Setting, Maki-e, Inlay and Carving) with the help of explanatory images. In that respect, Maki-e the ornamental lacquer technique invented in the Heian Period (late 8th to late 12th century) is particularly fascinating to read about. Lastly an historical perspective is supplied in two very clear and concise chapters, one about ‘The Culture of Fashion Accessories in Japan’, the other about ‘The Development of Japanese Jewellery’. In conclusion, this 144-page, soft jacket book is highly informative, beautifully illustrated (Kawamura’s carved brooches are divine, Nakajima Kunio’s pliqué à jour renditions masterful and Okurado’s floral designs simply sublime), and for most of us, it is brimming with the new and unexpected. All the pictures are exclusive to the book as they were taken by Ikuko’s team in her own photo studio. This in turn enabled the team to focus on making sure all the intricate details and the high level of craftsmanship are visible. In other words, Japanese Jewelers Directory is a great addition to any book collection. I sat with Ikuko Watanabe, the creative director behind Japanese Jewelers Directory, to find out more about the project.

139

| THE ART OF CREATIVITY

Ikuko Watanabe

140

Photo courtesy of Ikuko Watanabe Â© Ikuko Watanabe

Jewellery Historian

Photo courtesy of Ikuko Watanabe Â© Ikuko Watanabe

Jewellery Historian

| THE ART OF CREATIVITY

141

Photo courtesy of Ikuko Watanabe © Ikuko Watanabe Photo courtesy of Ikuko Watanabe © Ikuko Watanabe

Jewellery Historian

| THE ART OF CREATIVITY

142

“I have been a jewellery journalist / editor for a while and during my career I have been exposed to thousands of pieces of jewellery mostly from the West. So when I first saw the work of Shudo, Marukawa and Nakajima Kunio several years ago, it was clear they were using techniques derived from the Western jewellery tradition, but I could still identify a distinctive creative sensibility.”

Olivier Dupon - Correct me if I am wrong, but it seems the Japanese Jewelers Directory is the first book of its kind to hit the market. How long has it been in the making? Ikuko Watanabe - In 2011, I produced a first book, Top Jewellers of Japan. The text of this book is in Japanese only and the book itself was sold only in Japan and Asian countries. This time around, I wanted to write a bilingual opus that could then be sold in Europe and the USA. It now seems that the Japanese Jewelers Directory is indeed the first book of its kind to feature Japanese jewellers in bilingual format. We started last year, and it took about 8 months until its recent release. OD - How did you come up with the concept? IW - I have been a jewellery journalist / editor for a while and during my career I have been exposed to thousands of pieces of jewellery mostly from the West. So when I first saw the work of Shudo, Marukawa and Nakajima Kunio several years ago, it was clear they were using techniques derived from the Western jewellery tradition, but I could still identify a distinctive creative sensibility. I thought that the beauty of their jewellery work was akin to the traditional Japanese style of painting. Their style indeed uses powdered mineral pigments instead of oils, and on an aesthetic level, they exude a kind of sensitive and gentle beauty. OD - How did you select the participants? IW – Although I was the one responsible for selecting every jewel for the book, I worked with Mr Ryo Yamaguchi, a jewellery authority in Japan, for the selection of the designers. As a result, some of the featured names are his all-time favourites, while others are newcomers I met at a jewellery event and presented to him. OD - How do Japanese fine jewellers compare with Western ones? IW - I don’t think they can be compared. The European jewellers form the mainstream of jewellery design, but the type of jewellery that is selling well in Japan is always a bit different from that selling in Europe, US, or even Asia. I think Japanese designs appeal to those who really care about quality, those who want to buy something noble. It is also for people who dislike “showy” pieces. OD - Are there any jewels that are specific to the Japanese taste? IW - Designs that symbolize the four seasons definitely match the Japanese taste. We really care about the change of seasons. Cherry blossom inspires spring, the brightness of the new season; morning glory is the image for early summer; red leaves (maple especially) represent autumn, and of course snow for the winter.

143

144

Photo courtesy of Ikuko Watanabe Â© Ikuko Watanabe

Jewellery Historian

| THE ART OF CREATIVITY

145

Photo courtesy of Ikuko Watanabe Â© Ikuko Watanabe

Jewellery Historian

| THE ART OF CREATIVITY

146

Photo courtesy of Ikuko Watanabe Â© Ikuko Watanabe

Jewellery Historian

| THE ART OF CREATIVITY

“Japanese craftsmen pay extreme attention to quality in every aspect and they are very patient”

OD - What is your view about the fine jewellery market in Japan at the moment? IW- That is quite a difficult question. I hear that high-end fine jewellery with prices over 10 million yen are selling well among the upper class, whilst middle income customers are more inclined to spend their money on vacations, travel, eating out, etc., than on jewellery; perhaps this is the reason why non-precious fashion jewellery is becoming increasingly popular today. We buy our jewellery at international brand shops, department stores and jewellery shops. Also jewellers often hold trunk shows at hotels or restaurants. OD - What could Western fine jewellers learn from their Japanese counterparts? IW - Please look at the works of Muramatsu, Nakajima Kunio and Shiojima. Their techniques - pâte de verre, pliqué à jour, basse taille and piqué - all came from Europe but have been somehow adapted to a Japanese aesthetic. Japanese craftsmen pay extreme attention to quality in every aspect and they are very patient. I think Japanese jewellers are less inclined to making bold design statements, rather they pursue small and delicate ones, where they can showcase their ability to maximum effect. www.brandjewelryweb.com www.ink-inc.co.jp

147

148

Photo courtesy of Ikuko Watanabe Â© Ikuko Watanabe

Jewellery Historian

| THE ART OF CREATIVITY

Jewellery Historian

| THE ART OF CREATIVITY

T H E A R T O F C R E AT I V I T Y by Olivier Dupon

Volund Myths, stories, and fables are the self-described cornerstones of Volund, the jewellery house of Nick Koss. Calling it ‘a jewellery brand’, however, although correct, would be highly reductive of what it actually stands for – which is the creation of objet d’art heirlooms. In other words, the creation of timeless treasure. 149

Photo courtesy of VOLUND Â© VOLUND

Jewellery Historian

| THE ART OF CREATIVITY

150

Saami myth of creation gave rise to the ‘Algu’ ring, telling a tale of self-sacrifice and beauty, while the ‘Koronides’ earrings arose from ancient Greek legends, and the ‘Lioness’ bracelet, pendant and cufflinks were born from alchemical parables.

The ‘Triangular Book of St Germain’ is an 18th century occult manuscript originally written in French and concealed by a cipher. It is attributed to a mysterious Count of St. Germain, a European nobleman whose stories of eternal life, alchemical experiments, and magic continue to inspire wonder and amazement to this day. Nick Koss, president and creative director of Volund Jewelry, decoded and translated this enigmatic text. It is now published by Ouroboros Press, a company that specializes in esoteric fine art books. ‘The book details a ritual with three goals: discovery of precious minerals, recovery of lost historical artifacts, and extension of life. All of these, aside from being quite intriguing, are very much in line with the persona of the Count of St Germain, whose wealth and detailed stories of times long past earned him a supernatural reputation,’ shares Nick -- and he would know. Myths, stories, and fables are the self-described cornerstones of Volund, his jewellery house. Calling it ‘a jewellery brand’, however, although correct, would be highly reductive of what it actually stands for – which is the creation of objet d’art heirlooms. In other words, the creation of timeless treasure. By delving into cultural heritages from the past and visiting far-flung ancient societies, Nick is able to inject his creations with solid established narratives. ‘Before any idea can materialize, we need to find its story. The library that serves as a starting point of this inspiration is not one of jewelry books, but rather of myths, legends, and historic accounts. It is there, among sagas of the Northerners, myths of the Mesopotamians, and accounts of Herodotus that the process begins,’ he says. Case in point: Saami myth of creation gave rise to the ‘Algu’ ring, telling a tale of self-sacrifice and beauty, while the ‘Koronides’ earrings arose from ancient Greek legends, and the ‘Lioness’ bracelet, pendant and cufflinks were born from alchemical parables. Beyond the stories, Nick and his team look at the craftwork of the ancient cultures both to accurately represent the ideas and pay homage to their origin. ‘Thus, pieces inspired by Greece may feature granulation, Scythian – prey animal motifs, and Norse – knots and sharp angles,’ he adds. His company offers museum-quality marvels that are fit for modern style. They bear the magnificence of high jewellery with the ease of fine jewellery. Do not get the wrong impression: although these are beautiful objects that would sit well in a display cabinet, Volund jewels are even better worn…though, shall we add, at your own risk? ‘A gallery owner refused to wear one of her cherished Volund pieces at work because she found that people were too distracted by it to look at the paintings available for sale!’ Nick recalls. If you do wear them, be ready to experience their powerful aura. ‘One individual from the Caribbean described a nearly mystical experience, where the presence of a Volund creation did not just impress onlookers but caused them to dream of it for weeks after,’ Nick smiles. It is notable that, in the early 20th century, his great-grandfather was a jeweller to the Imperial Court of Russia. ‘I remember seeing some of the silver cups that he created and engraved. They were beautiful family heirlooms, especially in the lean times of Communism,’ Nick notes. Aside from their masterful execution, they carried the stamp of the double-headed and

151

Photo courtesy of VOLUND © VOLUND

Photo courtesy of CARNET © CARNET

Jewellery Historian

| THE ART OF CREATIVITY

152

Jewellery Historian

| THE ART OF CREATIVITY

Lion Ring

Photo courtesy of VOLUND Â© VOLUND

18k Yellow Gold, Blue Sapphires (VS, 1.3ctw), Diamonds (VVS E, 0.7ctw), Emeralds (VS, 0.2ctw)

153

Photo courtesy of VOLUND Â© VOLUND

Jewellery Historian

| THE ART OF CREATIVITY

154

| THE ART OF CREATIVITY

155

Photo courtesy of VOLUND Â© VOLUND

Jewellery Historian

| THE ART OF CREATIVITY

Cub Ring

Photo courtesy of VOLUND Â© VOLUND

18k Yellow Gold, Yellow Sapphires (4.4ctw), Emeralds (VS, 0.2ctw), Cognac Diamonds (0.6ctw), Diamonds (0.1ctw), Black Diamonds (0.05ctw)

156

“Sadly, I know very little about my greatgrandfather. I know that he was Finnish and that he worked in St Petersburg at the time of Fabergé. Perhaps he worked for that firm, or perhaps it was for some other high-calibre company.”

crowned Imperial eagle – the crest of the Romanovs – which only the jewelers to the royal court were allowed to use. ‘Sadly, I know very little about my great-grandfather. I know that he was Finnish and that he worked in St Petersburg at the time of Fabergé. Perhaps he worked for that firm, or perhaps it was for some other high-calibre company. He was a true master of his craft. For the remainder of the 20th century, my ancestors were physicians. However, every generation kept up our family legacy and nourished the children’s artistic talents.’ Nick’s parents brought him and his sister up in two parallel streams: academic and artistic. From the age of seven, they went to regular school and to an art academy, where his sister studied painting and Nick sculpture. Additionally, the family travelled extensively around Europe. ‘My parents wanted to make sure that we visited and properly explored every established European museum. This took nearly 20 years, and instilled and refined a sense of beauty in me. I was steeped in the works of the masters and became inspired by works that were hundreds or even thousands of years old,’ he recalls. The family moved to Canada in the late 1990s, and, following the wishes of his parents, Nick completed a Bachelors and later Masters degree in Technology and Business. Subsequently he worked in finance and technology fields, all the while continuing to train in various art forms – sculpting, wax carving, goldsmithing, and enameling. In 2008, he began to take on commission works for private clients, and in 2010 officially formed Volund. Eventually he left the finance industry to pursue his true passion and renew his family's legacy. ‘I continued to work with private clients, though moving more towards my own expressions, such as the “Lions” collection. From the beginning, I operated Volund as a luxury brand. Aside from the exquisite quality of the pieces, the fact that each one is based on a story or a myth gives it a soul; it animates it. I work with a small team of master craftsmen – gem cutters, metal workers, setters, etc. – and we take our time on each creation to make sure it is perfected before it is released to the world,’ he explains. Each piece is unique and hand-made, and – a key to Volund’s multi-layered intrigue – contains mysteries to uncover. Even the name Volund refers at once to a mythical Norse goldsmith, likely based on some real person in the distant past, and to Nick’s ancestor, the master jeweler from the North. The company logo, with three sevens in a circle, resembles an ancient pagan symbol for the sun, with the sevens hinting at our world, with seven oceans, seven continents, seven classic planets, and so on. This idea of duality also applies to the goals of Volund. ‘On one hand, there is a simple desire to create beautiful objects, following ancient traditions but suitable for modern times and beyond. On the other, there is the story-telling component – part exhibition of European heritage, part timeless and universal truths for everyone to partake.’ Then, Nick adds, ‘There is still more – little puzzles or signs in pieces that hint at mystical teachings of alchemists and the like, but these are well hidden and left for future owners to discover and enjoy.’ On that auspicious yet intriguing teaser, it is only natural that we should want to explore Nick’s perspective in a little more depth. Olivier Dupon - What makes you passionate about jewellery design? Nick Koss - Two things come to mind. The first is that jewellery is an extraordinarily permanent art form. A well-made piece of jewellery can survive for thousands of years es-

157

Jewellery Historian

| THE ART OF CREATIVITY

Photo courtesy of VOLUND Â© VOLUND

Bifrost pendant

in 18k #gold set with diamonds, emeralds, and opals. Inspired by the legendary shimmering bridge of Norse mythology

158

Jewellery Historian

| THE ART OF CREATIVITY

Lion Earrings

‘ 18K Yellow and White Gold, Diamonds

Photo courtesy of VOLUND © VOLUND

(1.9ctw), Akoya Pearls

159

Jewellery Historian

| THE ART OF CREATIVITY

Lioness Ring

Photo courtesy of VOLUND Â© VOLUND

18K Red Gold, Diamonds (VVS E 0.4ctw), Orange Sapphire (VS 0.2ct), Emeralds (VS, 0.2ctw), Tsavorites (VS 0.5ctw),

160

| THE ART OF CREATIVITY

Photo courtesy of VOLUND Â© VOLUND

Jewellery Historian

161

| THE ART OF CREATIVITY

Photo courtesy of VOLUND Â© VOLUND

Jewellery Historian

162

Jewellery Historian

| THE ART OF CREATIVITY

Algu Ring

Photo courtesy of VOLUND Â© VOLUND

A ring in 18K yellow gold, featuring two large (7.85tcw) Alexandrites, a halo and cover of highest quality diamonds (0.31tcw), and eight flawless rubies (1.2tcw).

163

Jewellery Historian

| THE ART OF CREATIVITY

Algu Ring

Photo courtesy of VOLUND Â© VOLUND

A ring in 18K yellow gold, featuring two large (7.85tcw) Alexandrites, a halo and cover of highest quality diamonds (0.31tcw), and eight flawless rubies (1.2tcw).

164

Design tempers and refines raw ideas to amplify their effect. Because jewellery is interactive, it requires architectural consideration in terms of comfort and functionality.

sentially unaltered. To create a beautiful item that will be enjoyed for such a long time is a rare and special honour. Second, it is an opportunity to tell a story. Each piece that Volund creates has a story, not just of its making or its owner, but also of its inspiration. For example, the ‘Bifrost’ pendant is more than just an item made of metal and precious stones; it represents an element of Norse mythology, a bridge to heaven, and a feeling of awe at the beauty of a natural phenomenon – the Aurora Borealis. OD – How do you see yourself? NK – As an artist first, because of the drive to create, regardless of medium, time, even reason. Artistic inspiration is possessive and all-encompassing. While you are under its spell, nothing else matters more than materializing the vision within. Second, but just as important, I’m a designer and architect. Design tempers and refines raw ideas to amplify their effect. Because jewellery is interactive, it requires architectural consideration in terms of comfort and functionality. And lastly I’m a storyteller. Without dreams and stories, there is no luxury jewellery; there is no art. OD - What is your vision of the current fine jewellery field? NK - I see a lot of powerful technology appearing in this field. When used properly, it can help to create more precise and complex items. It also enables young artists to express themselves at a level previously unattainable. I also see more global communication, allowing talented individuals to collaborate and share knowledge in a way that is entirely novel. On a more critical note, I sense a desire in younger companies to become popular above all – even before attaining mastery in their craft; while more established brands tend to see profit as the ultimate goal, instead of the creation and expression of beauty. Moreover, from everyone, there is marginal effort in true social responsibility, including environmental and ethical practices. OD - What is the best memory you have that is associated with your jewellery? NK – The realization of a dream: when a fleeting idea is captured in a sketch, then transformed into a model, and eventually takes its final form in metal and stone. Beholding something out of a dream or vision and being able to share it with someone: that is one of my best memories associated with this art. For example, a client contacted me recently asking for a man’s ring. He specified only size and nothing else. His inspiration to commission Volund for this piece came from a dream, so how could I refuse? For several weeks, I struggled, trying to design something, but it felt forced and unnatural. Then, one night in the twilight hour, the vision of his ring flashed across my mind, complete with colour and details. I began working anew, and two days later the design was complete. When I looked at it, it was a wonder to behold, because I had managed to capture something so ethereal that it almost didn’t look like my own creation. OD - From your perspective is it possible to totally free-flow / experiment or does one always need to follow rules? NK - It is possible to create in free-flow, and often necessary to begin in this fashion. However, as the philosophical paradox tells us: to have freedom we must first have restriction. Therefore, rules enable the manifestation of the creative thought, just as our body’s muscles, bound to our frame, allow us to move at will. For example, if you are designing a ring, it must ultimately be wearable on a finger – otherwise it is no longer a ring. However, the impulse for creation does not need to be as specific as a round ob-

165

| THE ART OF CREATIVITY

Photo courtesy of VOLUND © VOLUND

Jewellery Historian

Portrait (by Iren Koss, painter and Nick’s sister. Oil on canvas, 2015.)

166

Photo courtesy of VOLUND Â© VOLUND

Jewellery Historian

| THE ART OF CREATIVITY

167

Jewellery Historian

| THE ART OF CREATIVITY

Lioness Bracelet

Photo courtesy of VOLUND Â© VOLUND

18K Yellow Gold, Diamonds (VS 2.8ctw), Emeralds (VS, 0.2ctw)

168

Every piece contains a secret for the owner to find, in the form of a puzzle or a hidden message. Some are easy to find, while others will likely take a few owners before being discovered.

ject of a given size. Some of the best examples of beautiful rings come from outside of that paradigm and marry an idea with an ingenious execution. The ‘Lion Cub’ ring is an example of that. I wanted to portray the playfulness of a young cat and created the sculpture first. Then came the idea of putting it on a finger, as a ring, but an unusual one: the cub is not just flopped on top or wrapped around in some artificial fashion; it is engaged and playing with the ring, staying true to its nature. OD - What are the signature elements of a Volund design? NK - We keep to precious metals and gems as a foundation. Beyond the price, their rarity, timelessness and beauty grant these materials their true luxury status. That is not to say that we don’t also resort to more unusual components, such as meteorite fragments, fossilized bones and mammoth ivory. In addition, a signature of Volund is secrets. Every piece contains a secret for the owner to find, in the form of a puzzle or a hidden message. Some are easy to find, while others will likely take a few owners before being discovered. We create 10–20 unique pieces a year, though this is dictated more by attention spent on each creation and its complexity, rather than by an arbitrary restriction. Overall some aspects of Volund seem to move back in time while others move forward. In the case of the former, we started out with a greater reliance on technology but have now adopted more traditional methods that have nearly become lost, such as drawing finalized designs in gouache. At the same time, we continue to make use of the latest technology when it can effectively serve our needs, such as lasers for welding or CAD for determining exact measurements before production. Every piece represents an aspect of Volund style – they are just different facets of it. The ‘Lion’ collection showcases more of the sculptural work, while our platinum pieces exhibit the clean lines of Art Deco and our continued fascination with man-made structures, and our coloured gem creations demonstrate the use of precious materials as dimensional pigments. OD - Tell us more about the types of craftsmanship in Volund. NK - We often include intricate sculptural elements in our works – animal figures or organic shapes reminiscent of vegetation. These are carved in wax on a miniature scale, and are incorporated into the piece. Some details are fractions of a millimetre in size and only visible under magnification. The recent trend for purely geometric shapes in jewellery lacks a certain sophistication and refinement of the previous centuries. I suspect this is due to heavier reliance on technology, which facilitates geometric construction but struggles with more complex, free-form designs. OD – And, to conclude, if you were to summarize the philosophy behind Volund, what would you say? NK - Aspiration to timeless beauty. We want our creations to be considered beautiful not just today but hundreds of years from now. This has a curious two-fold effect. First, we often look for inspiration in pieces that are themselves hundreds or more years old; if they survived this long and are still beautiful, rather than primitive or outdated, then the artist clearly managed to capture that essential timeless beauty that we seek. Second, the trends, cycles and fashions of today mean relatively little to us, because we are striving for long-term appeal. www.volund.ca

169

Jewellery Historian

| THE ART OF CREATIVITY

Lioness Pendant

Photo courtesy of VOLUND Â© VOLUND

18K Yellow and White Gold, Diamonds (1.2ctw), Sapphires (central: 3.8ctw, briolettes: 6.1ctw)

170

EXCEPTIONAL TIMEPIECES

BVLGARI OCTO

171

Photo courtesy of BULGARI Â© BULGARI

Jewellery Historian

| EXCEPTIONAL TIMEPIECES

172

Jewellery Historian

A new landmark. Octo Finissimo Minute Repeater belongs to a proud line of ultra-thin watches developed by Bulgari.

| EXCEPTIONAL TIMEPIECES

Following in the wake of the Octo Finissimo Tourbillon, which is the thinnest in the world, this development sets a new standard combining extreme slenderness with the most elaborate horological complication, as a complement to the Octo Finissimo Skeleton and the new Ultranero models. The Octo continues exploring the theme of extreme slenderness. After the world’s thinnest tourbillon model launched in 2014, enter the latest newcomer to the world of superlative horology: Octo Finissimo Minute Repeater, which earns the title of the smallest on the market. Bulgari is taking a new step in this ultra-selective field, by pushing the absolute limits of the striking watch. Octo is not just any watch. Already an iconic model, it reinvents itself in 2016 with a new collection featuring a new record-breaking watch design with the world’s thinnest flying tourbillon, an intricately skeleton-worked ultra-thin movement and a highly contemporary black interpretation. A new landmark. Octo Finissimo Minute Repeater belongs to a proud line of ultra-thin watches developed by Bulgari. After the tourbillon and the mechanical hand-wound movement simultaneously launched in 2014, the Maison is laying a new milestone in the field of incomparably slim timepieces. The minute repeater remains to this day among the most complex of all horological complications and the exclusive preserve of a handful of prestigious brands. A striking watch implies a number of specific construction constraints and full command of certain distinctive skills in order to achieve the best possible outcome: an intense, crystal-clear chime with a perfectly uniform and regular cadence when the mechanism is activated. While that might seem straightforward, it is anything but achieving this set of parameters calls for a rare and sophisticated breed of expertise and a degree of experience that very few watch brands can still claim to possess. Moreover, these principles generally apply to striking watches that are large enough to provide sufficiently generous interior volumes enabling optimal diffusion of the sound within the case, and thus ensuring optimal acoustic quality. In the case of the Octo Finissimo Minute Repeater, everything was different right from the start, since the aim was to achieve perfect sound within the smallest possible space! The numbers speak for themselves: the in-house developed and produced BVL Calibre 362 measures just 3.12mm thick and the overall case thickness amounts to only 6.85mm. Starting from scratch. All of this meant starting with a clean slate when it came to the inherent technical characteristics of a striking mechanism. The Manufacture in Le Sentier solved the problem by working on several different fronts at once. Firstly, the case was to be made of titanium: in addition to its appreciable lightness, the properties of this low-density metal ensure the best possible sound diffusion. The hour-markers on the dial – also made from the same metal – feature an incised, cut-out design, as too

173

Photo courtesy of BULGARI © BULGARI

Jewellery Historian

| EXCEPTIONAL TIMEPIECES

174

| EXCEPTIONAL TIMEPIECES

Photo courtesy of BULGARI Â© BULGARI

Jewellery Historian

175

Photo courtesy of BULGARI Â© BULGARI

Jewellery Historian

| EXCEPTIONAL TIMEPIECES

176

Photo courtesy of BULGARI Â© BULGARI

Jewellery Historian

| EXCEPTIONAL TIMEPIECES

177

Jewellery Historian

| EXCEPTIONAL TIMEPIECES

178

| EXCEPTIONAL TIMEPIECES

Photo courtesy of BULGARI Â© BULGARI

Jewellery Historian

179

Photo courtesy of BULGARI Â© BULGARI

Jewellery Historian

| EXCEPTIONAL TIMEPIECES

180

Each component, fashioned with infinite precision, becomes part of a precious lacy pattern creating the precious, sensual impression of a watch clothed in a black silk negligee, enhanced by gold adornments.

does the small seconds counter at 6 o’clock: the openings serve to amplify resonance inside the case and thereby optimise the sound effect. These solutions were backed up by another. The circular-section gongs directly affixed to the case are individually fashioned and finished by hand throughout the production process. Preparing and shaping the steel parts, defining the notes and the harmonics: many separate stages are involved in producing the completed gongs. The two hammers are also crafted with the same meticulous care. The extreme miniaturisation of the 362 components housed within this extremely slim case is vividly illustrated in the centrifugal strike governor, featuring a total diameter of just 3.3mm including its two inertia-blocks. The pusher activating the striking mechanism, fitted with an “all or nothing” safety device, is positioned on the case middle at 9 o’clock. It is designed to guarantee continuous water resistance to 50m. This exceptional hand-wound movement delivers a 42-hour power reserve once fully wound. Octo Finissimo Minute Repeater embodies a complete paradigm shift in terms of slenderness and lays the foundations of a new approach to mechanics and to classic complications, all the while preserving the legendary status they command and cultivating the finest watchmaking traditions. With the Octo Finissimo Minute Repeater, exceptional horology has a new figurehead, issued in a strictly limited 50-piece edition.

Octo Finissimo Skeleton: spectacular. Equally spectacular yet striking a different aesthetic note, the Octo Finissimo Skeleton enables the most discerning Haute Horlogerie connoisseurs to immerse themselves in the heart of the movement. Devotees of precision will be captivated by the incredible slim and easily understandable skeleton version with its understated yet complex architecture. The use of black adds a sensual touch to this visual experience of plunging into the heart of the movement. Each component, fashioned with infinite precision, becomes part of a precious lacy pattern creating the precious, sensual impression of a watch clothed in a black silk negligee, enhanced by gold adornments. A voluptuous and fiery watch that is exceptional in terms of both its extreme slenderness and its finishes and is equipped with Manufacture Calibre BVL 128SK, a mechanical hand-wound movement powering small seconds and power-reserve displays. This skeleton mechanism measuring barely 2.35 mm thick is endowed with an approximately 65-hour power reserve. Several technical and aesthetic feats are daringly united within a highly contemporary watch.

Octo Ultranero: a modern black-clad interpretation. Modernity is the keynote of the new intense black Octo Ultranero models. They come in total-black or ‘almost-all-black’ versions, since Bulgari gives

181

Photo courtesy of BULGARI Â© BULGARI

Jewellery Historian

| EXCEPTIONAL TIMEPIECES

182

Photo courtesy of BULGARI Â© BULGARI

Jewellery Historian

| EXCEPTIONAL TIMEPIECES

183

Photo courtesy of BULGARI Â© BULGARI

Jewellery Historian

| EXCEPTIONAL TIMEPIECES

184

Octo Ultranero also knows how to offer simpler content, even though all its interpretations feature the horological refinement inherent in the best mechanical calibres, all assembled and finished by hand.

its own precious twist to this contemporary masculine watch. Depending on the variations, the Maison adds a touch of gold either simply through the hands and hour-markers gracing the dial, or by a pink gold bezel, thereby creating an elegant contrast effect. Octo Ultranero puts the Finissimo Tourbillon firmly centre-stage with its spectacular Manufacture movement: an ultra-thin bridge-free flying tourbillon calibre (BVL 268). At just 1.95 mm thick, it is the world’s thinnest contender in this category of complication. This entirely hand-finished and decorated mechanical hand-wound movement has a 52-hour power reserve. It is housed in the sophisticated and contemporary Octo case, fashioned for this exclusive version in D.L.C.-coated (Diamond Like Carbon) titanium. Its case is in pink gold with a ceramic insert, symbolising the mastery of precious metals and of watchmaking techniques cultivated by Bulgari, the most contemporary of the traditional jewellers. The 40mmdiameter Finissimo Tourbillon is a mere 5mm thick – an impressive feat in terms of slimness and hence elegance. The caseback of this watch is transparent to provide an enhanced view of this rare and stupefying mechanism. The same approach also prevails on the black lacquered dial, which provides a clear view of the tourbillon carriage at 6 o’clock. The dedicated hands of the Octo watch are cut-out to enhance the sense of transparency. Octo Ultranero also knows how to offer simpler content, even though all its interpretations feature the horological refinement inherent in the best mechanical calibres, all assembled and finished by hand. Depending on their individual wishes, inspiration and usage, enthusiasts can choose a 41 mmdiameter version driven by a mechanical self-winding Solotempo BVL 193 calibre. Dedicated to measuring and reading off time, this twin-barrel movement with a 50-hour power reserve focuses on providing a precise indication of the hours, minutes, seconds and date. For a sportier look, one may opt for the Octo Velocissimo Chronograph powered by the BVL 328 calibre, a high-performance movement capable of displaying the flow of time to the nearest tenth of a second. Sheer style. Black is an inherently virile and elegant force that reigns supreme in fashion. Italian designers have been trailblazers in its use. When thus endowed with a black D.L.C. (Diamond Like Carbon) coating, the highly structured case takes on enhanced and distinctively Italian aesthetic strength. It immediately recalls certain creations in the field of architecture and contemporary furniture, even bringing to mind stealth aircraft and thereby adding to the sense of mystery and secrecy. This opens up completely new expressive vistas for this watch that is equally at home in elegant urban surroundings as in life’s more high-adrenalin moments. Octo Ultranero is an authentic style factor resolutely dedicated to modern men. The watch can be chosen in an all-black version or with a pink gold bezel. This configuration is also available for the new Octo chronograph in the Ultranero line – a horological complication that is a great favourite among active men and keen aesthetes.

185

Photo courtesy of BULGARI Â© BULGARI

Jewellery Historian

| EXCEPTIONAL TIMEPIECES

186

Photo courtesy of BULGARI Â© BULGARI

Jewellery Historian

| EXCEPTIONAL TIMEPIECES

187

Photo courtesy of BULGARI Â© BULGARI

Jewellery Historian

| EXCEPTIONAL TIMEPIECES

188

...it retains all the virtues of Italian epicureanism and is designed for selfassured men keen to wear an iconic and unusual watch.

The Octo case is a natural extension of the Italian temperament. It is complex while appearing very simple. It is geometrical yet in no way rigid. It is elegant while maintaining a natural air of relaxation that is the spice of life. Because Octo is a watch that was not designed to create pure performance. Based on this premise, it retains all the virtues of Italian epicureanism and is designed for self-assured men keen to wear an iconic and unusual watch, both in their professional lives and when engaged in chic leisure activities. A family of watches entirely suited to todayâ&#x20AC;&#x2122;s world and which steadily gains in both strength and character year after year. www.bulgari.com

189

Photo courtesy of BULGARI Â© BULGARI

Jewellery Historian

| EXCEPTIONAL TIMEPIECES

190

| EXCEPTIONAL TIMEPIECES

simbos / SHUTTERSTOCK . COM

Jewellery Historian

TECHNICAL CHARACTERISTICS

OCTO FINISSIMO MINUTE REPEATER

Movement Ultra-thin Manufacture Minute Repeater movement, mechanical hand-wound, BVL Calibre 362; indication of the hours and minutes, small seconds at 6 o’clock; 21,600 vph, thickness 3.12mm, 28.50mm in diameter; 42-hour power reserve; hand-crafted finishes: Côtes de Genève, circular graining and chamfering. Case and dial Titanium case, 40mm in diameter, total thickness 6.85mm; titanium crown set with a ceramic insert, sapphire crystal caseback; titanium dial with cut-out hour-markers and small seconds counter, facetted hands with diamond-polished tips; water-resistant to 30m. Strap Vulcanised black alligator leather strap, triple-blade titanium folding clasp. 50-piece limited edition.

191

Photo courtesy of BULGARI Â© BULGARI

Jewellery Historian

| EXCEPTIONAL TIMEPIECES

192

| EXCEPTIONAL TIMEPIECES

simbos / SHUTTERSTOCK . COM

Jewellery Historian

TECHNICAL CHARACTERISTICS

OCTO FINISSIMO SKELETON Movement Ultra-thin entirely skeleton-worked Manufacture movement, mechanical hand-wound, BVL Calibre 128SK; indication of the hours and minutes, small seconds at 6 o’clock, 65-hour powerreserve indication between 9 and 10 o’clock; 28,800 vph, 2.35mm thick, 36mm in diameter; surface finishes: black-coated baseplate and bridges, with circular satin-brushed decoration and chamfering. Case and dial 40mm-diameter steel case with D.L.C. (Diamond Like Carbon) coating; 18kt pink gold bezel; total thickness 5.37mm; screw-lock 18kt pink gold crown set with a ceramic insert, sapphire crystal caseback with 18kt pink gold screws; skeleton dial displaying minute circle, small seconds and power reserve; water-resistant to 30m. Strap Integrated alligator leather strap with D.L.C. (Diamond Like Carbon)-coated titanium pin buckle.

193

Photo courtesy of BULGARI Â© BULGARI

Jewellery Historian

| EXCEPTIONAL TIMEPIECES

194

| EXCEPTIONAL TIMEPIECES

simbos / SHUTTERSTOCK . COM

Jewellery Historian

TECHNICAL CHARACTERISTICS OCTO ULTRANERO

OCTO FINISSIMO TOURBILLON

on the model; screw-lock 18kt pink gold crown with black ceramic insert; 41 mm in diameter; 10.6 mm thick; water-resistant to 100m. Strap Integrated rubber strap; black D.L.C.-coated steel pin buckle.

Movement Mechanical hand-wound movement, flying tourbillon and dedicated ballbearing mechanism. BVL Calibre 268 Finissimo tourbillon movement, the world’s thinnest at 1.95mm thick and 32.60mm in diameter; 21,600 vph, 52-hour power reserve; hand-crafted Côtes de Genève motif.

OCTO VELOCISSIMO Movement Manufacture movement, high-frequency chronograph, silicon escapement, self-winding, Velocissimo BVL Calibre 328, integrated columnwheel chronograph, circular graining, Côtes de Genève and chamfering; 36,000 vph (5Hz), 50-hour power reserve.

Case and dial Titanium case with D.L.C. (Diamond Like Carbon) coating, transparent caseback; 18kt pink gold crown with black ceramic insert; 40mm in diameter; 5mm thick; water-resistant to 30m. Black lacquered, hand-applied polished hourmarkers, opening revealing the tourbillon carriage.

Case and dial Steel case with black D.L.C. (Diamond Like Carbon) coating, sapphire caseback with 18kt pink gold screws; matching or 18kt pink gold bezel; screw-lock 18kt pink gold crown with black ceramic insert; 41mm in diameter; 13.07mm thick; water-resistant to 100m. Polished black lacquered dial, hand-applied pink gold-plated hour-markers.

Strap Black alligator leather strap, black D.L.C.-coated titanium pin buckle. OCTO SOLOTEMPO Movement Manufacture movement, mechanical self-winding with date, BVL Calibre 193, circular graining, Côtes de Genève, chamfering and snailing; twin barrels; 28,800 vph, 50-hour power reserve.

Strap Integrated rubber strap, black D.L.C.-coated steel pin buckle.

Case and dial Steel case with black D.L.C. (Diamond Like Carbon) coating, sapphire caseback with 18kt pink gold screws; matching or 18kt pink gold bezel depending

195

Photo courtesy of BULGARI Â© BULGARI

Jewellery Historian

| EXCEPTIONAL TIMEPIECES

196

EDITORâ&#x20AC;&#x2122;S CHOICE

esthĂ¨te a person who has or professes to have refined sensitivity toward the beauties of art or nature.

197

An exceptional necklace by Farah Khan

198

199

200

Jewellery Historian

| S comme STYLE

AS Inc. / SHUTTERSTOCK . COM

BLUE HEAT

201

202

AS Inc. / SHUTTERSTOCK . COM

Jewellery Historian

| S comme STYLE

203

Jewellery Historian

| S comme STYLE

204

| S comme STYLE

AS Inc. / SHUTTERSTOCK . COM

Jewellery Historian

205

| S comme STYLE

AS Inc. / SHUTTERSTOCK . COM

Jewellery Historian

206

AS Inc. / SHUTTERSTOCK . COM

Jewellery Historian

| S comme STYLE

207

Jewellery Historian

| S comme STYLE

208

OPEN CALL new talents

209

You are a young fashion designer or a young jewelelry designer ? You want to see your creations in the Jewellery Historian ? Go to our website and submit material today !

www.jewelleryhistorian.com > contact us

210

| S comme STYLE

sykotkin / SHUTTERSTOCK . COM

Jewellery Historian

211

Jewellery Historian

| S comme STYLE

SHADES of BLUE

212

Jewellery Historian

| S comme STYLE

213

| S comme STYLE

sykotkin / SHUTTERSTOCK . COM

Jewellery Historian

214

| S comme STYLE

sykotkin / SHUTTERSTOCK . COM

Jewellery Historian

215

| S comme STYLE

sykotkin / SHUTTERSTOCK . COM

Jewellery Historian

216

sykotkin / SHUTTERSTOCK . COM

Jewellery Historian

| S comme STYLE

217

Jewellery Historian

| S comme STYLE

218

| S comme STYLE

219

sykotkin / SHUTTERSTOCK . COM

Jewellery Historian

| S comme STYLE

sykotkin / SHUTTERSTOCK . COM

Jewellery Historian

220

sykotkin / SHUTTERSTOCK . COM

Jewellery Historian

| S comme STYLE

221

Jewellery Historian

| S comme STYLE

222

Jewellery Historian

www.jewelleryhistorian.com

223

, e f u o s s t i s e y e r b e n y v o r e h e p v o In e c h n t . a r r h f e c v y n o r e c r a f s r o n di i p . . . m e e r t u n t o a c r e lit

s e l l i u

e f e l l i m 224

Jewellery Historian

| Jewels we Love

Jewels we

Love Maxim Getman / SHUTTERSTOCK . COM

In every issue we handpick the finest jewellery for you to choose, enabling you to add a sophisticated, elegant touch to the most important times of your life. Previously known as â&#x20AC;&#x153;Our Favesâ&#x20AC;?, this new column introduces you to our favorite jewellery, designed by the most talented jewellery designers.

225

| Jewels we Love

226

Svetlanamiku / SHUTTERSTOCK . COM

Jewellery Historian

| Jewels we Love

Alexia Jordan

227

Jewellery Historian

| Jewels we Love

Bayco

228

Jewellery Historian

| Jewels we Love

Etho Maria

229

Jewellery Historian

| Jewels we Love

Farah Khan

230

Jewellery Historian

| Jewels we Love

David Morris

231

Jewellery Historian

| Jewels we Love

Magerit

232

Jewellery Historian

| Jewels we Love

Lydia Courteille

233

Jewellery Historian

| Jewels we Love

Carrera y Carrera

234

Jewellery Historian

| Jewels we Love

Nikos Koulis

235

Jewellery Historian

| Jewels we Love

Farah Khan

236

Jewellery Historian

| Jewels we Love

Carrera y Carrera

237

Jewellery Historian

| Jewels we Love

Le Vian

238

Jewellery Historian

| Jewels we Love

Sethi Couture

239

Jewellery Historian

| Jewels we Love

Borgioni

240

Jewellery Historian

| Jewels we Love

Pasquale Bruni

241

Jewellery Historian

| Jewels we Love

Butani

242

Jewellery Historian

| Jewels we Love

EC One

243

Jewellery Historian

| Jewels we Love

R.Y.M. Jewelry

244

Jewellery Historian

| Jewels we Love

Yoko London

245

Jewellery Historian

| Jewels we Love

David Morris

246

Jewellery Historian

| Jewels we Love

Maria Kovadi

247

Jewellery Historian

| Jewels we Love

Yoko London

248

Jewellery Historian

| Jewels we Love

Lydia Courteille

249

Jewellery Historian

| Jewels we Love

Butani

250

Jewellery Historian

| Jewels we Love

Sutra

251

Jewellery Historian

| Jewels we Love

Pasquale Bruni

252

Jewellery Historian

| Jewels we Love

Le Vian

253

Jewellery Historian

| Jewels we Love

Etho Maria

254

Jewellery Historian

| Jewels we Love

Nikos Koulis

255

Jewellery Historian

| Jewels we Love

Noudar

256

EDITORâ&#x20AC;&#x2122;S CHOICE

mille feuilles The Jewellery Historian supports French language & literature. In each issue discover our selection of books in French language.

257

Jewellery Historian

| mille feuilles

David Foenkinos, Le mystère Henri Pick En Bretagne, un bibliothécaire décide de recueillir tous les livres refusés par les éditeurs. Ainsi, il reçoit toutes sortes de manuscrits. Parmi ceux-ci, une jeune éditrice découvre ce qu’elle estime être un chef-d’œuvre, écrit par un certain Henri Pick. Elle part à la recherche de l’écrivain et apprend qu’il est mort deux ans auparavant. Selon sa veuve, il n’a jamais lu un livre ni écrit autre chose que des listes de courses... Aurait-il eu une vie secrète? Auréolé de ce mystère, le livre de Pick va devenir un grand succès et aura des conséquences étonnantes sur le monde littéraire. Il va également changer le destin de nombreuses personnes, notamment celui de Jean-Michel Rouche, un journaliste obstiné qui doute de la version officielle. Et si toute cette publication n’était qu’une machination? Récit d’une enquête littéraire pleine de suspense, cette comédie pétillante offre aussi la preuve qu’un roman peut bouleverser l’existence de ses lecteurs. Editions Gallimard , 288 pages

258

Jewellery Historian

| mille feuilles

Guillaume Musson, La fille de Brooklyn Je me souviens très bien de cet instant. Nous étions face à la mer. L'horizon scintillait. C'est là qu'Anna m'a demandé : " Si j'avais commis le pire, m'aimerais-tu malgré tout ? " Vous auriez répondu quoi, vous ? Anna était la femme de ma vie. Nous devions nous marier dans trois semaines. Bien sûr que je l'aimerais quoi qu'elle ait pu faire. Du moins, c'est ce que je croyais, mais elle a fouillé dans son sac d'une main fébrile, et m'a tendu une photo. – C'est moi qui ai fait ça. Abasourdi, j'ai contemplé son secret et j'ai su que nos vies venaient de basculer pour toujours. Sous le choc, je me suis levé et je suis parti sans un mot. Lorsque je suis revenu, il était trop tard : Anna avait disparu. Et depuis, je la cherche. I n t e n s e e t c a p t i v a n t , u n c o l d c a s e a u s s i a d d i c t i f  qu'une grande série télé. Intrigue diabolique, personnages uniques et attachants, suspense de tous les instants : avec La fille de Brooklyn , Guillaume Musso signe l'un de ses romans les plus ambitieux et les plus réussis. XO, 473 pages

259

Jewellery Historian

| mille feuilles

Claire Castillon, Les messieurs « Corse en pendentif, santiags bleues et Mazda à toit ouvrant, à midi, Jean-Lou, lunettes noires, classe absolue, m’attendra devant le collège. » Lycéennes effrontées ou fiancées romantiques, les jeunes filles de Claire Castillon ont un trait commun : les hommes dont elles tombent amoureuses sont plus âgés, voire bien plus âgés qu’elles. Sont-elles intrigantes ou ingénues ? Naïves ou rouées ? Les deux, sans doute. Mais ne nous y trompons pas : la cible que visent ces 21 nouvelles, ce sont avant tout ces « messieurs ». Leur légèreté est pathétique. Leur veulerie, inébranlable. À quelques exceptions près. Suite de variations sur un thème classique, Les Messieurs sont autant de contes cruels, de brèves comédies. S’y dessinent les intermittences du désir masculin et les espoirs déçus des filles. Des histoires d’abandon, d’innocence et d’effroi comme seule en connaît l’adolescence, ce moment de fragilité extrême que Claire Castillon décrit admirablement. Éditions de l’Olivier, 176 pages

260

Jewellery Historian

| INSPIRATIONS

INSPIRATIONS | INTERIOR DESIGN | ARCHITECTURE | DESIGN

by Catherine Varoucha

nataliakul / SHUTTERSTOCK . COM

For this special issue, we visit an exceptional beach house with an amazing sea view.

261

Jewellery Historian

| INSPIRATIONS

262

Jewellery Historian

| INSPIRATIONS

263

Jewellery Historian

| INSPIRATIONS

264

Jewellery Historian

| INSPIRATIONS

265

Jewellery Historian

| INSPIRATIONS

266

Jewellery Historian

| INSPIRATIONS

267

Jewellery Historian

| INSPIRATIONS

268

Jewellery Historian

| INSPIRATIONS

269

Jewellery Historian

| INSPIRATIONS

270

Jewellery Historian

| INSPIRATIONS

271

Jewellery Historian

| INSPIRATIONS

272

Jewellery Historian

| INSPIRATIONS

273

Jewellery Historian

| INSPIRATIONS

274

Jewellery Historian

| INSPIRATIONS

275

Jewellery Historian

| INSPIRATIONS

276

Jewellery Historian

| INSPIRATIONS

277

All photos by TonTectonix / SHUTTERSTOCK . COM

Jewellery Historian

| INSPIRATIONS

278

Anna Omelchenko / SHUTTERSTOCK . COM

address

Book

279

ALEXIA JORDAN

MAGERIT

www.alexiajordanjewellery.com

www.mageritjoyas.com

BAYCO

MARIA KOVADI

www.bayco.com

www.kovadi.com

BORGIONI

NOUDAR

www.borgionis.com

www.noudar.com

BULGARI

NIKOS KOULIS

www.bulgari.com

www.nikoskoulis.gr

BUTANI

LE VIAN

www.butani.com

www.levian.com

CARRERA Y CARRERA

PASQUALE BRUNI

www.carreraycarrera.com

www.pasqualebruni.com

DAVID MORRIS

R.Y.M

www.davidmorris.com

www.rymjewelry.com

EC ONE

SETHI COUTURE

www.econe.co.uk

www.sethicouture.com

ETHO MARIA

SUTRA

www.ethomaria.com

www.sutrajewels.com

FARAH KHAN

ULYSSE NARDIN

www.farahkhanfinejewellery.com

www.ulysse-nardin.com

GUCCI Jewelry & Timespieces

YOKO LONDON

www.guccitimeless.com

www.yokolondon.com

LYDIA COURTEILLE www.lydiacourteille.com

280

Anastasia Zenina / SHUTTERSTOCK . COM

www.jewelleryhistorian.com

281