The Revival Of High Jewellery Manufacturing

It is said that twentieth Century jewelry.

"First name - I'm tired of saying it - JAR."

"He is an enterprising person.

In most cases of human history, the concept of deduction is meaningless.

Jewellery is more valuable than money because they have an intrinsic value that enables them to be split and traded.

Since the establishment of JAR for 33 years, a booming jewellery market has attracted jewelry collectors interested in signature (branded) works.

In the past ten years, especially during the Renaissance of the high jewellery manufacturing industry, between the independent designers and the traditional French families, they began to discuss the topics that should be well preserved for the next generation of works.

It is still too early to define the present period by breaking off the chronicle of chronicles, and to define the characteristics of the art of decoration in the form of diamond and clean geometric lines from 1920s to 30s. But many experts agree that whether they are non-traditional or traditional, they are willing to believe that the material is the symbol of jewellers in twenty-first Century.

Michele della Valle is an example. He is a jeweler in Rome.

"Recently, I used carbon fiber to imitate the feather like details around anemones in a special way," Mr. della Valle said.

He has always stressed that he never uses materials and uses materials for special purposes.

He said, "I am still using titanium or zirconium, and when a piece of work needs to lighten the weight, I use these materials rigorously -- and most of them can be combined with gold."

Mr. della Valle shares his appreciation of light metals with three other Hongkong designers who are widely concerned.

The three designers are Carnet Michelle Ong, who is well-known and Etcetera Edmund Chin because of his imagination and made of diamond sleeves and brooches inspired by lace. He is famous for his stone work, and also has Wallace Chan, a jewelry engraver and a gold medal sorcerer, because he can skillfully use titanium.

In early November, a jewelry salon opened in F.D., Manhattan.

Fiona Druckenmiller is a great collector.

In the window, beside the classic Cartier and Van Cleef &Arpels, there are the works of two masters in twenty-first Century.

A master is Viren Bhagat, a native jeweller in Mumbai, who is well known for his aesthetic taste of Mogul (Moho) and Deco (decorative art).

The other is Hemmerle, who owns a family owned studio in Munich and is famous for his unique and concise design.

"Hemmerle is city flavour, against bling (glittering things) - they use copper inlaid jade," Ms. Druckenmiller said. "Viren's work, I can not imagine to bring it in the daytime.

They are gorgeous, romantic and luxurious.

Both of these works are not conventional.

Most jewelers at this level will pay attention to small and delicate details.

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Recently, in New York, one morning, James de Givenchy, the nephew of this fashion icon, pointed out the elegance of the details of the Y shaped diamond ring designed by him.

"This is the difference we want to highlight," he said, without having to worry about the 7 carat D bland diamonds on the drill pliers.

The cooperation between Mr. Givenchy and Sotheby diamond at the age of four has always been a trade-off between the intrinsic value and the aesthetic value. His works, with millions of dollars in precious stones embedded in fine steel, rope and ceramics, have never mentioned gold.

"The diamond itself is valuable. I just want to say," this is what I see.

"He said.

"I'm not painting diamonds. I'm framing diamonds."

However, not all rigorous jewellers are as devout as Mr. Givenchy.

"I never want to know the value of diamonds," said Daniel Brush, an American artist and jeweler. He recalled one of his most famous works: a rabbit Bangle made of wood coated wood chips.

Knowing the value of diamonds will make them afraid when using them: "for me, they are pink and attractive," he said of diamonds, "it's a bit like Cinderella's dream."

Unlike his peers who relied on the technical craftsmen of a team to fulfill their dreams, Mr. Brush used his hands to create jewellery from beginning to end.

He made wearable works: like a series of stainless steel brooches with tiny diamond inserts, and more conceptual works: a complex aluminum engagement ring, 3.5 inches in diameter of almost 9 centimeters, is as wide as a hand and 1.5 inches thick, so it can hardly be worn to a finger.

"I love the idea of wedding rings," Mr. Brush said. "But if you don't wear them, but wrap them in boxes, then put them together once a year."

Brush, an excellent art professor at Georgetown University, used his philosophy to make jewelry and fill the ravages between jewelry and art. It is the fertile soil for collecting connoisseurs interested in the next wave of collection works. Susan Abeles, director of New York Bonhams jewelry, said that Art Smith and John Paul Miller are the contemporary models.

Ms. Abeles said, "these jewellery artists began to engage in art. I am very interested in how they pform art into size, proportion and wear resistance."

At the other end of the jewelry industry is Cartier and Van Cleef &Arpels, whose outstanding inheritance helped shape jewelry design in the last century.

Now owned by the peak luxury holding company, the company has used the Paris antique Biennale in the past ten years to display the official series of modern treasures for the insightful target buyers.

In September, Van Cleef launched Les Voyages Extraordinaires (a special trip) to pay tribute to the works of Jules Verne.

In the past, all kinds of inspiration from the high jewelry series came from their works, such as Shakespeare's "midsummer night's dream" garden art, and California in 1970s.

Nicolas Bos, the creative director of the company, said: "this is not to put jewelry in the window, but to create an inspirational story inspired by fashion and fashion."

Cartier uses its legendary past to provide new designs for representation of patterns and techniques - leopard and mysterious jewelry and clocks are two iconic features of the company.

"We think we should do something in some way, and it can't be calculated," said Pierre Rainero, director of image, style and heritage, Cartier. "This idea is to make jewelry that everyone needs."

Of course, from now on for decades, although a rare and beautiful jewelry shows uniqueness and full of deep feelings of the creator can withstand the test of time is safe, but the demand is still determined by the unpredictable market forces, let alone the personality behind the work is difficult to understand.

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Take Mr. Rosenthal as an example. He declined to ask for his jewelry by e-mail.

"Well, I am not good at expressing what I have done with words," he said. "I believe an artist should shut his mouth like an artist."